THE  UNIVERSITY 


OF  ILLINOIS 
LIBRARY 

From  the  collection  of 
Julius  Doerner,  Chicago 
Purchased,  1918. 

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MENDELSSOHN’S  LETTERS, 

FROM*  1833  TO  1847. 


/’.'■I 


L E T T E R S 


OF 


FELIX  MENDELSSOHN  BARTIIOLDY 


FROM  1833  TO  1847. 


EDITED  BY  PAUL  MENDELSSOHN  BARTUOLDY,  AND  DR.  CARL  MENDELSSOHN 
BARTHOLDY, 


WITH 


A CATALOGUE  OF  ALL  UIS  MUSICAL  COMPOSITIONS. 


COMPILED  BY 


DR.  JULIUS  RIETZ. 

TRANSLATED  BY  LADY  WALLACE. 


NEW  YORK: 

LEY  P OLD  T AND  HOLT. 
1868. 


I g 


PREFACE. 


The  Letters  of  Felix  Mendelssohn  Bartholdy  from  Italy 
and  Switzerland  have  amply  fulfilled  the  purpose  of 
their  publication,  by  making  him  personally  known  to 
the  world,  and,  above  all,  to  his  countrymen. 

Those  Letters,  however,  comprise  only  a portion  of 
the  period  of  Mendelssohn’s  youth ; and  it  has  now 
become  possible,  by  the  aid  of  his  own  verbal  delinea- 
tions, to  exhibit  in  a complete  form  that  picture  of  his 
life  and  character  which  was  commenced  in  the  former 
volume. 

This  has  been  distinctly  kept  in  view  in  the  selection 
of  the  following  letters.  They  commence  directly  after 
the  termination  of  the  former  volume,  and  extend  to 
Mendelssohn’s  death.  They  accompany  him  through 
the  most  varied  relations  of  his  life  and  vocation,  and 
thus  lay  claim,  at  least  partially,  to  another  kind  of 
interest  from  that  of  the  period  of. gay,  though  not 
insignificant,  enjoyment,  depicted  by  him  in  the  letters 
written  during  his  travels.  For  example,  the  negotia- 


VI 


PREFACE. 


tions  on  the  subject  of  his  appointment  at  Berlin  take 
up  a large  space ; but  this  is  inevitable,  so  ..characteris- 
tic are  they  of  the  manner  in  which  he  conceived  and 
conducted  such  matters,  while  they  reveal  to  us  much 
that  hes  outside  his  own  personal  character,  and  thus 
possess  a more  than  merely  biographical  value. 

On  the  other  hand,  the  minute  details  of  the  pure  and 
elevated  happiness  which  Mendelssohn  enjoyed  in  his 
most  intimate  domestic  relations  are  expressly  with- 
held, as  being  the  peculiar  treasure  of  his  family,  and  a 
few  passages  only  have  been  selected  for  publication 
from  these  letters,  which,  however,  are  sufficiently  clear 
on  the  point.  In  conclusion,  it  should  be  observed, 
that  no  letter  addressed  to  any  living  person  has  been 
published  without  express  permission  readily  accorded. 

A Catalogue  of  all  Mendelssohn’s  compositions,  com- 
piled by  Herr  Kapellmeister  Dr.  Julius  Eietz,  is  added 
as  a supplement,  which,  by  its  classification  and  arrange- 
ment, will  no  doubt  prove  an  object  of  interest  both  to 
musicians  and  amateurs  of  music. 

Berlin  ajid  ITeidelhergy 
June^  1863. 


LETTERS. 


To  Pastor  BaueRj  Beszig. 

Berlin,  March  4th,  1838. 

Since  I set  to  work  again,  I feel  in  such  good  spirits 
that  I am  anxious  to  adhere  to  it  as  closely  as  possible, 
so  it  monopolizes  every  moment  that  I do  not  spend 
with  my  own  family.  Such  a period  as  this  last  half- 
year  having  passed  away  makes  me  feel  doubly  grate- 
ful. It  is  like  the  sensation  of  going  out  for  the  first 
time  after  an  illness ; and,  in  fact,  such  a term  of  uncer- 
tainty, doubt,  and  suspense  really  amounted  to  a 
malady,  and  one  of  the  worst  kind  too.*  I am  now, 
however,  entirely  cured ; so,  when  you  think  of  me, 
do  so  as  of  a joyous  musician,  who  is  doing  many  things, 
who  is  resolved  to  do  many  more,  and  who  would  fain 
accomphsh  all  that  can  be  done. 

For  the  life  of  me  I cannot  rightly  understand  the 
meaning  of  your  recent  question  and  discussion,  or 
what  answer  I am  to  give  you.  Universality,  and 
everything  bordering  on  aesthetics,  makes  me  forth- 

* At  the  period  to  which  Mendelssohn  here  refers,  owing  to  the 
advice  of  his  friends,  he  had  applied  for  the  situation  of  Director  of  the 
Singing  Academy,  but  was  not  chosen. 


2 


Mendelssohn's  letters 


with  quite  dumb  and  dejected.  Am  I to  tell  you  how 
you  ought  to  feel?  You  strive  to  discriminate  between 
an  excess  of  sensibility  and  genuine  feeling,  and  say 
that  a plant  may  bloom  itself  to  death. 

But  no  such  thing  exists  as  an  excess  of  sensibility  ; 
and  what  is  designated  as  such  in  fact,  rather  a 
dearth  of  it.  The  soaring,  elevated  emotions  inspired 
by  music,  so  welcome  to  listeners,  are  no  excess  ,*  for 
let  him  who  can  feel  do  so  to  the  utmost  of  his  power, 
and  even  more  if  possible  ; and  if  he  dies  of  it,  it  will 
not  be  in  sin,  for  nothing  is  certain  but  what  is  felt  or 
believed,  or  whatever  term  you  may  choose  to  employ ; 
moreover,  the  bloom  of  a plant  does  not  cause  it  to 
perish  save  when  forced,  and  forced  to  the  uttermost ; 
and  in  that  case,  a sicldy  blossom  no  more  resembles 
a healthy  one,  than  sickly  sentimentality  resembles 
true  feeling. 

I am  not  acquainted  with  Herr  W , nor  have  I 

read  his  book ; but  it  is  always  to  be  deplored  when 
any  but  genuine  artists  attempt  to  purify  and  restore 
the  public  taste.  On  such  a subject  words  are  only 
pernicious ; deeds  alone  are  efficient.  For  even  if  people 
do  really  feel  this  antipathy  towards  the  present,  they 
cannot  as  yet  give  anything  better  to  replace  it,  and 
therefore  they  had  best  let  it  alone.  Palestrina  effected 
a reformation  during  his  life ; he  could  not  do  so  now 
any  more  than  Sebastian  Bach  or  Luther.  The  men 
are  yet  to  come  who  will  advance  on  the  straight  road, 
and  who  will  lead  others  onwards,  or  back  to  the  an- 
cient and  right  path,  which  ought,  in  fact,  to  be  termed 
the  onward  path ; but  they  will  write  no  books  on  the 
subject 


PLEASURE  IN  HIS  PURSUITS. 


3 


To  Pastor  Bauer,  Beszig. 

Berlin,  April  6th,  1883. 

My  work,  about  which  I had  recently  many  doubts, 
is  finished ; and  now,  when  I look  it  over,  I find  that, 
quite  contrary  to  my  expectations,  it  satisfies  myself. 
I believe  it  has  become  a good  composition ; but,  be  that 
as  it  may,  at  all  events  I feel  that  it  shows  progress, 
and  that  is  the  main  point.  So  long  as  I feel  this  to 
be  the  case,  I can  enjoy  life  and  be  happy ; but  the 
most  bitter  moments  I ever  endured,  or  ever  could  have 
imagined,  were  during  last  autumn,  when  I had  my 
misgivings  on  this  subject.  Would  that  this  mood  of 
happy  satisfaction  could  but  be  hoarded  and  stored 
up  I But  the  worst  of  it  is,  that  I feel  sure  I shall  have 
forgotten  it  all  when  similar  evil  days  recur,  and  I can 
devise  no  means  of  guarding  against  this,  nor  do  I be- 
heve  that  you  can  suggest  any.  As,  however,  a whole 
mass  of  music  is  at  this  moment  buzzing  in  my  head, 
I trust  that  it  will  not,  please  Grod,  quickly  pass  away. 

Strange  that  this  should  be  the  case  at  a time  in 
other  respects  so  imbued  with  deep  fervour  and  ear- 
nestness, for  I shall  leave  this  place  feehng  more  solitary 
than  when  I came.  I have  found  my  nearest  relatives, 
my  parents,  my  brother  and  sisters,  alone  unchanged ; 
and  this  is  a source  of  happiness  for  which  I certainly 
cannot  be  too  grateful  to  Grod;  indeed,  now  that  I am 
(what  is  called)  independent,  I have  learned  to  love  and 
honour  and  understand  my  parents  better  than  ever ; 
but  then  I see  many  branching  off  to  the  right  and  to 
the  left,  who  I had  hoped  would  always  go  along  with 


4 


Mendelssohn’s  letters. 


me  ; and  yet  I could  not  follow  them  on  their  path,  even 
if  I wished  to  do  so. 

The  longer  I stay  in  Berlin,  the  more  do  I miss  Eietz, 

and  the  more  deeply  do  I deplore  his  death.  X 

declares  that  the  fault  lies  very  much  with  myself,  be- 
cause I insist  on  having  people  exactly  as  I fancy  they 
ought  to  be,  and  that  I have  too  much  party  spirit  for 
or  against  a person ; but  it  is  this  Very  spirit  the  want 
of  which  I feel  so  much  here.  I hear  plenty  of  opinions 
given ; but  where  there  is  no  fervour  there  can  be  no 
sound  judgment ; and  where  it  does  exist,  though  it 
may  indeed  not  unfrequently  lead  to  error,  still  it  often 
tends  towards  progress  too,  and  then  we  need  not  take 
refuge  in  past  times,  or  anywhere  else,  but  rather  re- 
joice in  the  present,  if  only  for  bringing  with  it  in  its 
course  a spring  or  an  Easter  festival. 


To  Pastor  Julius  Sohubring,  Dessau. 

Coblenz,  September  6th,  1833. 

Dear  S chubring, 

J ust  as  I was  beginning  to  arrange  the  sheets  of  my 
oratorio,*  and  meditating  on  the  music  that  I intend  to 
write  for  it  this  winter,  I received  your  letter  enclosing 
your  extracts,  which  appeared  to  me  so  good  that  I 
transcribed  the  whole  text  so  far  as  it  has  gone,  and 
now  return  it  to  you  with  the  same  request  as  at  first, 
that  you  will  kindly  send  me  your  remarks  and  additions. 
You  will  perceive  various  annotations  on  the  margin  as 


* “St.  Paal.^ 


COMPOSITION  OF  “ ST.  PAUL. 


6 


to  tlie  passages  I wish  to  have  from  the  Bible  or  the 
Hymn  Book.  I am  anxious  also  to  have  your  opinion 
— 1st.  As  to  the  form  of  the  whole,  especially  the  nar- 
rative part,  and  whether  you  think  that  the  general 
arrangement  may  be  retained, ^ — the  blending  of  the 
narrative  and  dramatic  representation.  I dare  not 
adopt  the  Bach  form  along  with  this  personified  recital  ; 
so  this  combination  seems  to  me  the  most  natural,  and 
not  very  difficult,  except  in  such  passages,  for  example? 
as  Ananias,  owing  to  the  length  of  the  continuous 
narration.  2d.  Whether  you  are  of  opinion  that  any  of 
the  principal  features  in  the  history  or  the  acts,  and  also 
in  the  character  and  teaching,  of  St.  Paul,  have  been 
either  omitted  or  falsified.  3d.  Where  the  divisions  of 
the  first  and  second  parts  should  be  marked.  4th. 
Whether  you  approve  of  my  employing  chorales. 
From  this  I have  been  strongly  dissuaded  hy  various 
people,  and  yet  I cannot  decide  on  giving  it  up  entirely, 
for  I think  it  must  be  in  character  with  any  oratorio 
founded  on  the  New  Testament.  If  this  be  also  your 
opinion,  then  you  must  supply  me  with  all  the  hymns 
and  passages.  You  see  I require  a great  deal,  from  you, 
but  I wish  first  to  enter  fully  into  the  spirit  of  the  words, 
and  then  the  music  shall  follow ; and  I know  the  interest 
you  take  in  the  work. 

If  you  will  do  all  this  for  me,  write  me  a few  lines 
immediately  to  Berlin,  for  I am  obhged  to  go  there  for 
three  or  four  days  with  my  father,  who  went  to  England 
with  me,  and  was  dangerously  ill  there.  Thank  G-od, 
he  is  now  quite  restored  to  health;  but  I was  under 
sucli  dreadful  apprehension  the  whole  time,  that  I shall 
leave. nothing  undone  on  my  part  to  see  him  once  more 


6 


Mendelssohn’s  letters. 


safe  at  home.  I must,  however,  return  forthwith  and 
proceed  to  Diisseldorf,  where  you  are  probably  aware 
that  I directed  the  Musical  Festival,  and  subsequently 
decided  on  taking  up  my  abode  there  for  two  or  three 
years,  nominally  in  order  to  direct  the  church  music,  and 
the  Yocal  Association,  and  probably  also  a new  theatre 
which  is  now  being  built  there,  but  in  reality  for  the 
purpose  of  securing  quiet  and  leisure  for  composition. 
The  country  and  the  people  suit  me  admirably,  and  in 
winter  St.  Paul  ” is  to  be  given.  I brought  out  my 
new  symphony  in  England,  and  people  liked  it;  and 
now  the  “ Hebrides  ” is  about  to  be  published,  and  also 
the  symphony.  This  is  all  very  gratifying ; but  I hope 
the  things  of  real  value  are  yet  to  come.  I trust  it  may 
be  so.  It  is  not  fair  in  me  to  have  written  you  such  a 
half-dry  and  wholly  serious  letter,  but  such  has  been  the 
character  of  this  recent  period,  and  so  I am  become  in 
some  degree  like  it. 


To  I.  Moscheles,  London. 

Berlin,  1883. 

. . . Do  you  suppose  that  I have  not  gone  to  hear 

Madame  B because  she  is  not  handsome,  and  wears 

wide  hanging  sleeves  ? This  is  not  the  reason,  although 
there  are  undoubtedly  some  physiognomies  which  can 
never,  under  any  circumstances,  become  artistic, — from 
which  such  icy  cold  emanates  that  their  very  aspect 
Ireezes  me  at  once.  But  why  should  I be  forced  to 
listen  for  the  thirtieth  time  to  all  sorts  of  variations  by 


HERZ’S  PrANOFORTE  MUSIC. 


7 


Herz?  They  cause  me  less  pleasure  than  rope-dancers 
or  acrobats.  In  their  case  we  have  at  least  the  barbarous 
excitement  of  fearing  that  they  may  break  their  necks, 
and  of  seeing  that  nevertheless  they  escape  doing  so. 
But  those  who  perform  feats  of  agility  on  the  piano  do 
not  even  endanger  their  lives,  but  only  our  ears.  In 
such  I take  no  interest.  I wish  I could  escape  the 
annoyance  of  being  obliged  to  hear  that  the  public 
demands  this  style ; I also  form  one  of  the  public,  and  I 
demand  the  exact  reverse.  Moreover,  she  played  in 
the  theatre  between  the  acts,  and  that  I consider  most 
obnoxious.  First,  up  goes  the  curtain,  and  I see  before 
me  India,  with  her  pariahs  and  palm-trees  and  prickly 
plants,  and  then  come  death  and  murder,  so  I must 
weep  bitterly ; then  up  goes  the  curtain  again,  and  I see 

Madame  B with  her  piano,  and  a concert  ensues  in 

every  variety  of  minor  key,  and  I must  apj)laud  with 
all  my  might;  then  follows  the  farce  of  “Ein  Stiindchen 
vor  dem  Potsdamer  Thor,”  and  I am  expected  to 
laugh.  Ho!  This  I cannot  stand,  and  these  are  the 
reasons  why  I do  not  deserve  your  censure.  I stayed 
at  home  because  I like  best  to  be  in  my  own  room,  or 
with  my  own  family,  or  in  my  own  garden,  which  is 
wonderfully  beautiful  this  year.  If  you  will  not  believe 
me,  come  and  judge  for  yourself.  I cannot  resist 
always  reverting  to  this. 


8 


Mendelssohn’s  letters. 


To  Eebecoa  DirichleTj  Berlin. 

Dfisseldorf,  October  26th,  1833. 

My  dear  Sister, 

The  history  of  my  life  during  the  last  few  weeks 
is  long  and  pleasant.  Sunday,  Maximilian’s  day,  was 
my  first  Mass ; the  choir  crammed  with  singers,  male 
and  female,  and  the  whole  church  decorated  with  green 
branches  and  tapestry.  The  organist  flourished  away 
tremendously,  up  and  down.  Haydn’s  Mass  was  scan- 
dalously gay,  but  the  whole  thing  was  very  tolerable. 
Afterwards  came  a procession,  playing  my  solemn  march 
in  E flat, — the  bass  performers  repeating  the  first  part, 
while  those  in  the  treble  went  straight  on;  but  this 
was  of  no  consequence  in  the  open  air ; and  when  I 
encountered  them  later  in  the  day,  they  had  played  the 
march  so  often  over  that  it  went  famously ; and  I con- 
sider it  a high  honour  that  these  itinerant  musicians  have 
bespoken  a new  march  from  me  for  the  next  fair. 

Previous  to  that  Sunday,  however,  there  was  rather 
a touching  scene.  I must  tell  you  that  really  no  appro- 
priate epithet  exists  for  the  music  which  has  been 
hitherto  given  here.  The  chaplain  came  and  com- 
plained to  me  of  his  dilemma ; the  Burgomaster  had 
said  that  though  his  predecessor  was  evangelical,  and 
perfectly  satisfied  with  the  music,  he  intended  himself 
to  form  part  of  the  procession,  and  insisted  that  the 
music  should  be  of  a better  class.  A very  crabbed  old 
musician,  in  a threadbare  coat,  was  summoned,  whose 
office  it  had  hitherto  been  to  beat  time.  When  he  came, 
and  they  attacked  him,  he  declared  that  he  neither 
could  nor  would  have  better  music ; if  any  improvement 


SEARCH  FOR  GOOD  MUSIC. 


9 


was  required,  some  one  else  must  be  employed ; that 
he  knew  perfectly  what  vast  pretensions  some  people 
made  now-a-days,  everything  was  expected  to  sound 
so  beautiful ; this  had  not  been  tlie  case  in  his  day,  and 
he  played  just  as  well  now  as  formerly.  I was  really 
very  reluctant  to  take  the  affair  out  of  his  hands, 
'though  there  could  be  no  doubt  that  others  would  do 
infinitely  better ; and  I could  not  help  thinking  how  I 
should  myself  feel,  were  I to  be  summoned  some  fifty 
years  hence  to  a town-hall,  and  spoken  to  in  this  strain, 
and  a young  greenhorn  snubbed  me,  and  my  coat  was 
seedy,  and  I had  not  the  most  remote  idea  why  the 
music  should  be  better ; and  I felt  rather  uncomfortable. 

Unluckily,  I could  not  find  among  all  the  music  here 
even  one  tolerable  solemn  Mass,  and  not  a single  one  of 
the  old  Italian  masters ; nothing  but  modern  dross.  I 
took  a fancy  to  travel  through  my  domains  in  search 
of  good  music ; so,  after  the  Choral  Association  on 
Wednesday,  I got  into  a carriage  and  drove  off  to 
Elberfeld,  where  I hunted  out  Palestrina’s  Imprope- 
ria,”  and  the  Misereres  of  Allegri  and  Bai,  and  also  the 
score  and  vocal  parts  of  ‘‘  Alexander’s  Feast,”  which  I 
carried  off  forthwith,  and  went  on  to  Bonn.  There  I 
rummaged  through  the  whole  hbrary  alone,  for  poor 
Breidenstein  is  so  ill  that  it  is  scarcely  expected  he  can 
recover ; but  he  gave  me  the  key,  and  lent  me  what- 
ever I chose.  I found  some  splendid  things,  and  took 
away  with  me  six  Masses  of  Palestrina,  one  of  Lotti 
and  one  of  Pergolesi,  and  Psalms  by  Leo  and  Lotti, 
etc.,  etc.  At  last,  in  Cologne  I succeeded  in  finding 
out  the  best  old  Italian  pieces  which  I as  yet  know, 
particularly  two  motetts  of  Orlando  Lasso,  which  aro 
1* 


10 


Mendelssohn’s  letters. 


wonderfully  fine,  and  even  deeper  and  broader  than  the 
two  “ Crucifixus”  of  Lotti.  One  of  these,  Populus 
meus,”  we  are  to  sing  in  church  next  Friday. 

The  following  day  was  Sunday : so  the  steamboat  did 
not  come,  and,  knowing  that  my  presence  was  neces- 
sary in  Di'isseldorf,  I hired  a carriage  and  drove  here. 
People  were  crowding  along  the  chaussee  from  every- 
direction;  a number  of  triumphal  arches  had  been 
erected,  and  the  houses  all  adorned  with  lamps.  I 
arrived  with  my  huge  packet,  but  not  a single  person 
would  look  at  it;  nothing  but  ^Hhe  Crown  Prince,” 
“ the  Crown  Prince,”  again  and  again.  He  arrived 
safely  at  the  Jagerhof  on  Sunday  evening,  passing 
under  all  the  triumphal  arches  during  the  time  of  the 
illuminations,  and  amidst  the  pealing  of  bells  and  firing 
of  cannon,  with  an  escort  of  burgher  guards,  between 
lines  of  soldiers,  and  to  the  sound  of  martial  music. 
Next  day  he  gave  a dinner,  to  which  he  invited  me, 
and  I amused  myself  famously,  because  I was  very 
jovial  at  a small  table  with  Lessing,  Hiibner,  and  a few 
others.  Besides,  the  Crown  Prince  was  as  gracious  as 
possible,  and  shook  hands  with  me,  saying  that  he  was 
really  quite  angry  at  my  forsaking  both  him  and  Berlin 
for  so  long  a time, — listened  to  what  I had  to  say 
called  me  forward  from  my  corner  as  “ dear  Mendels- 
sohn:” in  short,  you  see  I am  thought  infinitely  more 
precious  when  I am  a little  way  from  home. 

I must  now  describe  to  you  the  fete  that  was  given 
in  his  honour,  and  for  which  I suggested  the  employ- 
ment of  some  old  transparencies,  to  be  connected,  by 
appropriate  verses  for  Israel  in  Egypt,”  with  tableaux 
vivants.  They  took  place  in  the  great  Hall  of  the  Aca- 


ISRAEL  IN  EGYPT. 


11 


demy,  where  a stage  was  erected.  In  front  was  the 
double  chorus  (about  ninety  voices  altogether),  stand- 
ing in  two  semicircles  round  my  English  piano ; and  in 

the  room  seats  for  four  hundred  spectators.  R , in 

mediaeval  costume,  interpreted  the  whole  affair,  and 
contrived  very  cleverly,  in  iambics,  to  combine  the  dif- 
ferent objects,  in  spite  of  their  disparity. 

He  exhibited  three  transparencies  : — first,  Melan- 
choly,” after  Barer,  a motett  of  Lotti’s  being  given  by 
men’s  voices  in  the  far  distance ; then  the  Raphael, 
with  the  Virgin  appearing  to  him  in  a vision,  to  which 
the  “ 0 Sanctissima”  was  sung  (a  well-known  song, 
but  which  always  makes  people  cry) ; thirdly,  St. 
Jerome  in  his  tent,  with  a song  of  Weber’s  ^‘Hor’  uns, 
Wahrheit.”  This  was  the  first  part.  How  came  the 
best  of  all.  We  began  from  the  very  beginning  of 
“ Israel  in  Egypt.”  Of  course  you  know  the  first  reci- 
tative, and  how  the  chorus  gradually  swells  in  tone ; first 
the  voices  of  the  alti  are  heard  alone,  then  more  voices 
join  in,  till  the  loud  passage  comes  with  single  chords. 
They  sighed,”  etc.  (in  G-  minor),  when  the  curtain 
rose,  and  displayed  the  first  tableau,  “ The  Children  of 
Israel  in  bondage,”  designed  and  arranged  by  Bende- 
mann.  In  the  foreground  was  Moses,  gazing  dreamily 
into  the  distance  in  sorrowful  apathy ; beside  him  an 
old  man  sinking  to  the  ground  under  the  weight  of  a 
beam,  while  his  son  makes  an  effort  to  relieve  him  from 
t ; in  the  background  some  beautiful  figures  with  up- 
lifted arms,  a few  weeping  children  in  the  foreground, 
— the  whole  scene  closely  crowded  together  like  a mass 
of  fugitives.  This  remained  visible  till  the  close  of  the 
6rst  chorus ; and  when  it  ended  in  C minor,  the  curtain 


12 


Mendelssohn’s  letters. 


at  tne  same  moment  dropped  over  the  bright  picture. 
A finer  efiect  I scarcely  ever  saw. 

The  chorus  then  sang  the  plagues,  hail,  darkness,  and 
the  first-born,  without  any  tableau ; but  at  the  chorus, 
“ He  led  them  through  like  sheep,”  the  curtain  rose 
again,  when  Moses  was  seen  in  the  foreground  with 
raised  staflp,  and  behind  him,  in  gay  tumult,  the  same 
figures  who  in  the  first  tableau  were  mourning,  now  all 
pressing  onwards,  laden  with  gold  aud  silver  vessels ; 
one  young  girl  (also  by  Bendemann)  was  especially 
lovely,  who,  with  her  pilgrim’s  stall',  seemed  as  if 
advancing  from  the  side  scenes  and  about  to  cross  the 
stage.  Then  came  the  choruses  again,  without  any 
tableau,  “ But  the  waters,”  ‘‘  He  rebuked  the  Bed  Sea,’ 

Thy  right  hand,  0 Lord,”  and  the  recitative,  ‘‘And 
Miriam,  the  Prophetess,”  at  the  close  of  which  the  solo 
soprano  appeared.  At  the  same  moment  the  last  tableau 
was  uncovered, — Miriam,  with  a silver  timbrel,  sound- 
ing praises  to  the  Lord,  and  other  maidens  with  harps 
and  citherns,  and  in  the  background  four  men  with 
trombones,  pointing  in  different  directions.  The  soprano 
solo  was  sung  behind  the  scene,  as  if  proceeding  from 
the  picture ; and  when  the  chorus  came  in  forte^  real 
trombones,  and  trumpets,  and  kettle-drums,  were 
brought  on  the  stage,  and  burst  in  like  a thunder-clap. 
Handel  evidently  intended  this  effect,  for  after  the  com- 
mencement he  makes  them  pause  till  they  come  in 
again  in  C major,  when  the  other  instruments  recom- 
mence. And  thus  we  concluded  the  second  part. 

This  last  tableau  was  by  Hiibner,  and  pleased  me 
exceedingly.  The  effect  of  the  whole  was  wonderfully 
fine.  Much  might  possibly  have  been  said  against  it 


Alexander’s  feast.’ 


13 


had  it  been  a pretentious  affair,  but  its  character  was 
entirely  social,  and  not  public,  and  I think  it  would 
scarcely  be  possible  to  devise  a more  charming  fete. 
The  next  that  followed  was  a tableau  vivant^  designed 
and  arranged  by  Schadow,  Lorenzo  de’  Medici,  sur- 
rounded by  the  Geniuses  of  Poetry,  Sculpture,  and 
Painting,  leading  to  him  Dante,  Eaphael,  Michael  An- 
gelo, and  Bramante,”  with  a complimentary  allusion  to 
the  Crown  Prince,  and  a final  chorus.  The  second  di- 
vision consisted  of  the  comic  scenes  from  the  ^^Midsum- 
mer Night’s  Dream,”  represented  by  the  painters  here; 
but  I did  not  care  so  much  for  it,  having  bjeen  so  absorb- 
ed by  the  previous  one. 

How  would  you  translate  in  the  same  measure  the 
following  line : — 

“ So  Love  was  crowned,  but  Music  won  the  cause”  ? * 

Ramler,  with  the  genuine  dignity  of  a translator,  says, 
“ Heil,  Liebe,  dir ! der  Tonkunst  Ehr’  und  Dank”  (All 
hail  to  thee,  0 Love ! to  Music  thanks  and  honour), 
which  has  no  point,  and  is  anything  but  a translation ; 
the  first  part  of  the  Ode  closes  with  these  lines,  so  the 
whole  sense  would  be  lost,  for  the  pith  of  the  sentence 
lies  in  the  word  won^  Give  me  some  good  hint  about 
this ; for  on  the  22d  of  November,  we  come  before  the 
public  with  Alexander’s  Feast,”  the  overture  to  ‘^Eg- 
mont,”  and  Beethoven’s  concerto  in  C minor.  I am  told 
that  an  orchestra  is  to  be  constructed  in  Becker’s  Hall, 
for  two  hundred  persons.  All  who  can  sing,  or  play,  or 
pay,  are  sure  to  be  there.  Tell  me  if  I shall  resume  my 

* From  “ Alexander’s  Feast.” 

2 


14 


Mendelssohn’s  letters. 


Greek  here.*  I feel  very  much  disposed  to  do  so,  but 
fear  it  will  not  go  on  very  swimmingly.  Could  1 
understand  ^schylus  ? tell  me  this  honestly.  Further, 
do  you  attend  to  my  advice  about  pianoforte  playing 
and  singing?  If  you  want  any  songs,  as  Christmas 
draws  near,  you  can  get  them  from  me  if  you  wish  it. 
Send  for  the  “ Hebrides”  arranged  as  a duett;  it  is,  no 
doubt,  published  by  this  time.  I think,  however,  that 
the  overture  to  Melusina”  will  be  the  best  thing  1 
have  as  yet  done ; as  soon  as  it  is  finished  I will  send 
it  to  you.  Adieu.  Felix. 


To  ms  Father. 

Bonn,  December  28th,  1883. 

Dear  Father, 

First  of  all,  I must  thank  you  for  your  kind,  loving 
letter,  and  I rejoice  that  even  before  receiving  it  I had 
done  what  you  desired.f  Strange  to  say,  my  official 
acceptance,  I must  tell  you,  was  sent  last  week  to 
Schadow ; the  biography  was  enclosed,  so  I expect  the 
patent  next  week ; but  I must  thank  you  once  more  for 
the  very  kind  manner  in  which  you  write  to  me  on  the 
subject,  and  I feel  proud  that  you  consider  me  worthy 
of  such  a confidential  tone.  • 

The  people  in  Diisseldorf  are  an  excitable  race  ! The 

* Mendelssohn’s  sister  had  learned  Greek  along  with  him. 
t The  subject  in  question  was  Mendelssohn’s  nomination  (which 
aftervvards  ensued)  as  a member  of  the  musical  class  of  the  Academy  of 
Art  in  Berlin,  as  to  the  acceptance  of  which  he  had  been  doubtful. 


A CLASSICAL  PERFORM ANCE. 


15 


Don  Juan”  affair  amused  me,  although  riotous  enough, 
and  Immermann  had  a sharp  attack  of  fever  from  sheer 
vexcition.*  As  you,  dear  Mother,  like  to  read  news- 
papers, you  shall  receive  in  my  next  letter  all  the 
printed  articles  on  the  subject,  which  engrossed  the  at- 
tention of  the  whole  town  for  three  long  days.  After 
the  grand  scandale  had  fairly  begun,  and  the  curtain 
three  times  dropped  and  drawn  up  again, — after  the 
first  duett  of  the  second  act  had  been  sung,  entirely 
drowned  by  whistling,  shouting,  and  howling, — after  a 
newspaper  had  been  flung  to  the  manager  on  the  stage, 
that  he  might  read  it  aloud,  who  on  this  went  off  in  a 
violent  huff,  the  curtain  being  dropped  for  the  fourth 
time, — I was  about  to  lay  down  my  hdtoUj  though  I 
would  far  rather  have  thrown  it  at  the  heads  of  some  of 
these  fellows,  when  the  uproar  suddenly  subsided.  The 
shouting  voices  were  hoarse,  and  the  well-conducted 
people  brightened  up;  in  short,  the  second  act  was 
played  in  the  midst  of  the  most  profound  silence,  and 
much  applause  at  the  close.  After  it  was  over,  all  the 
actors  were  called  for,  but  no  one  came,  and  Immerma-nn 
and  I consulted  together  in  a shower  of  fiery  rain  and 
gunpowder  smoke — among  the  black  demons — as  to 
what  was  to  be  done.  I declared  that  until  the  com- 
pany and  I had  received  some  apology,  I would  not 
again  conduct  the  opera;  then  came  a deputation  of 
several  members  of  the  orchestra,  who  in  turn  said  that 


* Irnmermaim  and  Mendelssohn  had  agreed  to  give  a certain  number 
of  performances  in  the  theatre,  which  they  termed  “ classical.”  A cer- 
tain portion  of  the  public  considered  this  to  be  arrogance  on  their  i)art, 
and  as  the  prices  were  also  raised  on  the  occasion,  at  the  first  perform- 
ance the  tumult  ensued  that  Mendelssohn  here  describes. 


16 


mendelssoun’s  letters. 


if  I did  not  conduct  the  opera  they  would  not  play ; then 
the  manager  of  the  theatre  began  to  lament,  as  he  had 
already  disposed  of  all  the  tickets  for  the  next  perform- 
ance. Immermann  snubbed  everybody  all  round,  and 
in  this  graceful  manner  we  retreated  from  the  field. 

Next  day  in  every  corner  appeared,  “ Owing  to  ob- 
stacles that  had  arisen,”  etc.  etc.  ; and  all  the  people 
whom  we  met  in  the  streets  could  talk  of  nothing  but 
this  disturbance.  The  newspapers  were  filled  with 
articles  on  the  subject;  the  instigator  of  the  riot  justi- 
fied himself,  and  declared  that  in  spite  of  it  all  he  had 
had  great  enjoyment,  for  which  he  felt  grateful  to  me 
and  to  the  company,  and  gave  his  name ; as  he  is  a 
Government  secretary,  the  president  summoned  him, 
blew  him  up  tremendously,  and  sent  him  to  the  direc- 
tor, who  also  blew  him  up  tremendously.  The  soldiers 
who  had  taken  part  in  the  tumult  were  treated  in  the 
same  manner  by  their  officers.  The  Association  for 
the  Promotion  of  Music  issued  a manifesto  begging  for 
a repetition  of  the  opera  and  denouncing  the  disturb- 
ance. The  Theatrical  Committee  intimated  that  if  the 
slightest  interruption  of  the  performance  ever  again 
occurred,  they  would  instantly  dissolve.  I procured 
also  from  the  committee  full  powers  to  put  a stop  to 
the  opera  in  case  of  any  unseemly  noise.  Last  Monday 
it  was  to  be  given  again ; in  the  morning  it  was  uni- 
versally reported  that  the  manager  was  to  be  hissed, 
on  account  of  his  recent  testiness;  Immermann  was 
seized  with  fever,  and  I do  assure  you  that  it  was  with 
feelings  the  reverse  of  pleasant  that  I took  my  place  in 
the  orchestra  at  the  beginning,  being  resolved  to  stop 
the  performance  if  there  was  the  slightest  disorder.  But 


GOETHE  AND  ZELTER. 


17 


the  moment  I advanced  to  my  desk  the  audience  re- 
ceived me  with  loud  applause,  and  called  for  a flourish 
of  trumpets  in  my  honour,  insisting  on  this  being  three 
times  repeated,  amid  a precious  row ; then  all  were  as 
still  as  mice,  while  each  actor  received  his  share  of 
applause ; in  short,  the  public  were  now  as  polite  as 
they  formerly  were  unruly.  I wish  you  had  seen  the 
performance:  individual  parts  could  not,  I feel  sure, 
have  been  better  given ; the  quartett,  for  instance,  and 
the  ghost  in  the  finale  at  the  end  of  the  opera,  and 
almost  the  whole  of  Leporello,”  went  splendidly,  and 
caused  me  the  greatest  pleasure.  I am  so  glad  to  hear 
that  the  singers  who  at  first,  I am  told,  were  pre- 
judiced against  me  personally,  as  well  as  against  these 
classical  performances,  now  say  they  would  go  to  the 
death  for  me,  and  are  all  impatience  for  the  time  when  I 
am  to  give  another  opera.  I came  over  here  for  Christmas, 
by  Cologne  and  the  Rhine,  where  ice  is  drifting  along, 
and  have  passed  a couple  of  quiet  pleasant  days  here. 

And  now  to  return  to  the  much-talked-of  correspon- 
dence between  Groethe  and  Zelter.  One  thing  struck 
me  on  this  subject : when  in  this  work  Beethoven  or 
any  one  else  is  abused,  or  my  family  unhandsomely 
treated,  and  many  subjects  most  tediously  discussed,  I 
remain  quite  cool  and  calm ; but  when  Reichardt  is  in 
question,  and  they  both  presume  to  criticize  him  with 
great  arrogance,  I feel  in  such  a rage  that  I don’t 
know  what  to  do,  though  I cannot  myself  explain  why 
this  should  be  so.  His  Morgengesang”  must  un- 
luckily rest  for  this  winter ; the  Musical  Association  is 
not  yet  sufficiently  full  fledged  for  it;  but  the  first 
musical  festival  to  which  I go  it  shall  be  there*  It  is 


18 


Mendelssohn's  letters. 


said  tney  will  not  be  able  to  have  it  at  Aix-la- 
Chapelle,  and  that  it  is  to  be  given  at  Cologne,  and 
many  of  my  acquaintances  urge  me  strongly  to  pay  my 
court  to  one  or  the  other,  in  which  case  I should  be 
selected ; but  this  I never  will  do.  If  they  should  choose 
me  without  this,  I shall  be  glad ; but  if  not,  I shall 
save  a month’s  precious  time  (for  it  will  take  that  at 
least),  and  remain  as  I am.  Having  been  obliged  to  give 
three  concerts  this  winter,  besides  the  “ Messiah”  and 
the  ISTozze  di  Figaro,”  I think  I have  had  nearly  enough 
of  music  for  the  present,  and  may  now  enjoy  a little 
breathing-time.  But  how  is  it.  Mother,  that  you  ask 
whether  I must  conduct  all  the  operas  ? Heaven  forbid 
there  should  be  any  must  in  the  case,  for  almost  every 
week  two  operas  are  given,  and  the  performers  con- 
sider themselves  absolved  by  one  rehearsal.  I am  only 
one  of  the  members  of  the  Theatrical  Association, 
chosen  to  be  on  the  select  committee,  who  give  six  or 
eight  classical  performances  every  year,  and  elect  a 
council  for  their  guidance,  this  council  consisting  of 
Immermann  and  myself;  we  are  therefore  quite  in- 
dependent of  the  rest,  who  consequently  feel  increased 
respect  for  us. 

When  the  great  Theatrical  Association  is  fairly  esta- 
blished, and  the  theatre  becomes  a settled  and  civic  in- 
stitution, Immermann  is  resolved  to  give  up  his  situa- 
tion in  the  Justiciary  Court,  and  to  engage  himself  for 
five  years  as  director  of  the  theatre.  Indeed,  I hear 
that  most  of  the  shareholders  have  only  given  their 
signatures  on  condition  that  he  should  undertake  the 
plays,  and  I the  operas ; how  this  may  be,  lies  close 
hidden  as  yet  in  the  womb  of  time,  but  in  any  event  I 


LETTER  FROM  LINDBLAD. 


19 


will  not  entirely  withdraw  from  the  affair.  I have 
composed  a song  for  Immermann’s  “ Hofer/’  or  rather, 
I shoisild  say,  arranged  a Tyrolese  popular  melody  for 
it,  and  also  a French  march ; but  I like  the  thing,  and 
mean  to  send  it  to  Fanny.  We  think  of  giving  “ Hofer” 
this  winter,  and  perhaps  also  Das  laute  Greheimniss,’* 
and  “Nathan,’’ or  the  “Brant  von  Messina,”  or  both. 
You  also  advise  me,  Mother,  to  acquire  the  habit  of 
dictation ; but  in  the  mean  time  I can  get  through  by 
the  use  of  my  own  pen,  and  intend  only  to  have  re- 
course to  such  a dignified  proceeding  in  the  greatest 
possible  emergency.*  Thank  you  very  much  for  the 
letter  you  sent  me  from  Lindblad.t  It  gave  me  great 
pleasure,  and  made  me  like  my  concerto  far  better  than 
I did  before,  for  I know  few  people  whose  judgment  I 
respect  more  than  his.  I can  as  little  explain  this,  or 
give  any  reason  for  it,  as  for  many  another  feeling ; but 
it  is  so ; and  when  I have  finished  a thing,  whether 
successful  or  a failure,  he  is  the  first  person,  next  to 
yourself,  whose  opinion  I should  be  glad  to  hear. 
That  a piece  so  rabidly  sketched  as  this  pianoforte  con- 
certo should  cause  pleasure  to  so  genuine  a musician, 
enhances  mine;  and  so  I thank  you  much  for  the 
letter.  But  it  is  high  time  to  close  this  letter  and  this 
year,  to  which  I am  indebted  for  many  blessings  and 
much  happiness,  and  which  has  been  another  bright 
year  for  me. 

I thank  you  also,  dear  Father,  now  as  ever,  for  having 
gone  with  me  to  England  for  my  sake ; and  though  my 


* He  never  had  reconrse  to  it.  Mendelssohn  wrote  invariably  every  • 
thing,  without  exception,  himself, 
t Music  Director  in  Stockholm. 


20 


Mendelssohn’s  letters. 


advice,  which  you  followed  for  the  first  time,  proved  so 
unfortunate,  and  caused  us  all  so  much  anxiety  and  un- 
easiness, you  never  once  reproached  me.  Still  I think, 
since  you  write  that  you  are  now  perfectly  well  and  in 
good  spirits,  the  journey  may  have  contributed  to  this. 
May  these  happy  results  be  still  further  increased  during 
the  approaching  year,  and  may  it  bring  you  all  every 
blessing.  Farewell. 

Felix. 


To  HIS  Family. 

Dusseldorf,  January  16th,  1884. 

We  are  leading  a merry  life  here  just  now,  casting 
aside  all  care ; every  one  is  full  of  fun  and  jollity.  1 
have  just  come  from  the  rehearsal  of  Egmont,”  where, 
for  the  first  time  in  my  life,  I tore  up  a score  from  rage 
at ‘the  stupidity  of  the  musicij  whom  I feed  with  6-8 
time  in  due  form,  though  they  are  more  fit  for  babes’ 
milk;  then  they  like  to  belabour  Sach  other  in  the 
orchestra.  This  I don’t  choose  they  should  do  in  my 
presence  : so  furious  scenes  sometimes  occur.  At  the 
air,  “ Glucklich  allein  ist  die  Seele  die  liebt,”  I fairly 
tore  the  music  in  two,  on  which  they  played  with  much 
more  expression.  The  music  delighted  me  so  far,  that 
I again  heard  something  of  Beethoven’s  for  the  first 
time ; but  it  had  no  particular  charm  for  me,  and  only 
two  pieces — the  march  in  C major,  and  the  movement 
in  6-8  time,  where  Klarchen  is  seeking  Egmont — are 
quite  after  my  own  heart.  To-morrow  we  are  to  have 
another  rehearsal ; in  the  evening  the  Prince  gives  a 


EXCURSION  TO  ELBERFELD. 


21 


ball,  wliicli  will  last  till  four  in  the  morning,  from  which 
I could  excuse  myself  if  I were  not  so  very  fond  of 
dancing.  I must  now  tell  you  about  my  excursion  to 
Elberfeld.  Sunday  was  the  concert : so  in  the  morning 
I drove  there  in  a furious  storm  of  thunder  and  rain. 
I found  the  whole  musical  world  assembled  in  the  inn, 
drinking  champagne  at  twelve  in  the  forenoon,  instead 
of  which  I ordered  chocolate  for  myself.  A pianoforte 
solo  of  mine  had  been  announced,  after  which  I 
intended  to  have  come  away  immediately ; but,  hear- 
ing that  there  was  to  be  a ball  in  the  evening,  I re- 
solved not  to  set  off  till  night,  and  as  they  had  intro- 
duced music  from  “ Oberon”  in  the  second  part,  feeling 
myself*  in  a vein  for  extemporizing,  I instantly  took  up 
their  last  ritournelle^  and  continued  playing  the  rest  of 
the  opera.  There  was  no  great  merit  in  this : still  it 
pleased  the  people  wonderfully,  and  at  the  end  I was 
greeted  with  plaudits  loud  enough  to  gratify  any  one. 
As  the  room  was  crowded,  I promised  to  return  in  the 
course  of  the  winter  to  play  for  the  benefit  of  the  poor. 
The  Barmers  sent  me  a deputation  of  three  Barmer 
ladies  to  persuade  me  to  go  there  on  Monday ; and,  as 
my  travelling  companion  had  both  time  and  inclination 
for  this,  I played  extempore  on  the  Monday  afternoon 
in  the  Barmer  Musical  Association,  and  then  a quartet t 
in  Elberfeld,  travelled  through  the  night,  and  arrived  at 
home  at  four  on  Tuesday  morning,  as  my  hour  for  re- 
ceiving people  is  from  eight  to  nine.  The  Barmer  fan- 
tasia was  well  designed ; I must  describe  it  for  Fanny. 

A poem  had  been  sent  me  anonymously,  at  the  end 
of  which  I was  advised  to  marry  (of  course  this  waa 
said  in  good  poetry,  interwoven  with  laurel  leaves  and 


22 


Mendelssohn's  letters. 


immortelles) ; and,  wishing  to  respond  to  this  compli- 
ment, I began  with  my  “ Bachelor’s  Song”  (though, 
unluckily,  no  one  found  out  its  meaning,  but  that  was 
no  matter),  continuing  to  play  it  gayly  for  some  time  ; 
I then  brought  in  the  violoncello  with  the  theme, 
“ Mir  ist  so  wunderbar,”  and  so  far  it  was  very  success- 
ful. I was  anxious,  however,  before  closing,  to  intro- 
duce some  matrimonial  felicity,  but  in  this  I utterly 
failed,  which  spoiled  the  conclusion.  I wish,  however, 
you  had  been  present  at  the  beginning,  for  I believe 
you  would  have  been  pleased.  I think  I already  wrote 
to  you  that  my  fantasia  in  F sharp  minor,  Op.  28,*  is 
about  to  be  published.  I have  introduced  a fine  massive 
passage  in  octaves  in  my  new  E flat  rondo  ; I am  now 
going  to  work  at  my  scena  for  the  Philharmonic,  to  edit 
the  three  overtures,  to  compose  another  trio  or  a sym- 
phony, and  then  comes  “ St.  Paul.”  Addio. 

Felix. 


To  I.  Moscheles,  London. 

Diisseldorf,  February  7,  1834. 

My  own  poverty  in  novel  passages  for  the  piano  struck 
me  very  much  in  the  Rondo  })rillant\  which  I wish  to 
dedicate  to  you ; these  are  what  cause  me  to  demur, 
and  to  torment  myself;  and  I fear  you  will  remark 
this.  In  other  respects  there  is  a good  deal  in  it  that 
I like,  and  some  passages  please  me  exceedingly ; but 

* This  fantasia  and  the  E flat  rondo  (with  orchestra),  Op.  29,  are 
both  dedicated  to  Moscheles. 

t E flat  (with  orchestra),  Op.  29. 


THE  PUBLIC  AND  THE  CRITICS. 


23 


how  I am  to  set  about  composing  a methodical  tranquil 
piece  (and  I well  remember  you  advised  me  strongly 
to  do  this  last  spring)  I really  cannot  tell.  All  that  I 
now  have  in  my  head  for  the  piano  is  about  as  tranquil 
as  Cheapside,*  and  even  when  I control  myself,  and 
begin  to  extemporize  very  soberly,  I gradually  break 
loose  again.  On  the  other  hand,  the  scena  which  I am 
now  writing  for  the  Philharmonic  is,  I fear,  becoming 
much  too  tame ; but  it  is  needless  to  carp  so  much  at 
myself,  and  I work  hard : by  saying  this  you  will  see 
that  I am  well,  and  in  good  spirits.  Dear  Madame 
Moscheles,  when  you,  however,  advise  me  to  remain 
quite  indifferent  towards  the  public  and  towards  critics, 
I must  in  turn  ask.  Am  I not,  in  my  profession,  an  anti- 
‘public-caring  musician,  and  an  anti-critical  one  into  the 
bargain  ? What  is  Hecuba  to  me,  or  critics  either  ? 
(I  mean  the  press,  or  rather  pressure)  ; and  if  an  over- 
ture to  Lord  Eldon  were  to  suggest  itself  to  me,  in  the 
form  of  a reversed  canon,  or  a double  fugue  with  a 
cantus  JirmuSj  I should  persist  in  writing  it,  though  it 
would  certainly  no^.  be  popular, — far  more,  therefore,  a 
“ lovely  Melusina,”  who  is,  however,  a very  different 
object ; only  it  would  be  fatal  indeed  were  I to  find 
that  I could  no  longer  succeed  in  having  my  works  per- 
formed ; but  as  you  say  there  is  no  fear  of  this,  then  I 
say,  long  live  the  public  and  the  critics  I but  I intend  to 
live  too,  and  to  go  to  England  next  year  if  possible. 

Your  observations  on  Keukomm’s  music  find  a com- 
plete response  in  my  own  heart.  What  does  astonish 
me  is,  that  a man  of  so  much  taste  and  cultivation 


♦ Well  known  as  the  most  crowded  street  in  London, 


mendelssohn’3  letters. 


- 24 

should  not,  with  such  qualifications,  write  more  elegant 
and  refined  music  j for,  without  referring  to  the  ideas 
or  the  basis  of  his  works,  they  appear  to  me  most  care- 
lessly composed,  and  even  commonplace.  He  also 
employs  brass  instruments  recklessly,  which  ought, 
through  discretion  even,  to  be  sparingly  used,  to  say 
nothing  of  artistic  considerations.  Among  other  things, 
I am  particularly  pleased  by  the  mode  in  which  Handel, 
towards  the  close,  rushes  in  with  his  kettle-drums  and 
trumpets,  as  if  he  himself  were  belabouring  them. 
There  is  no  one  who  would  not  be  struck  by  it ; and  it 
seems  to  me  far  better  to  imitate  this,  than  to  over-ex- 
cite  and  stimulate  the  audience,  who  before  the  close 
have  become  quite  accustomed  to  all  this  Cayenne 
pepper.  I have  just  looked  through  Cherubini’s  new 
opera,*  and  though  I was  quite  enchanted  with  many 
parts  of  it,  still  I cannot  but  deeply  lament  that  he  so 
often  adopts  that  new  corrupt  Parisian  fashion,  as  if  the 
instruments  were  nothing  and  the  effect  everything, — 
flinging  about  three  or  four  trombones,  as  if  it  were  the 
audience  who  had  skins  of  parchment  instead  of  the 
drums : and  then  in  his  finales  he  winds  up  with  hide- 
ous chords,  and  a tumult  and  crash  most  grievous  to 
listen  to.  Compare  with  these  some  of  his  earlier 
pieces,  such  as  “ Lodoiska”  and  “Medea,”  etc.,  etc., 
where  there  is  as  much  difference  in  brightness  and 
genius  as  between  a living  man  and  a scarecrow ; so  I 
am  not  surprised  that  the  opera  did  not  please.  Those 
who  like  the  original  Cherubini  cannot  fail  to  be  pro- 
voked at  the  way  in  which  he  yields  to  the  fashion  of 


* “ Ali  Raba/ 


COMPOSING  FOR  THE  PHILHARMONIC.  25  • 

the  day,  and  to  the  taste  of  the  public ; and  those  who 
do  not  like  the  original  Cherubini  find  far  too  much  oF 
his  own  style  still  left  to  satisfy  them  either,  no  matter 
what  pains  he  may  take  to  do  so, — he  always  peeps 
forth  again  in  the  very  first  three  notes.  Then  they 
call  this  rococoj  perruque^  etc.,  etc. 


To  HIS  Father. 

Dusseldorf,  March  28,  1834. 

Dear  Father, 

A thousand  thanks  for  your  kind  letter  on  my  Mo- 
ther’s birthday.  I received  it  in  the  midst  of  a general 
rehearsal  of  the  “ Wassertrager,”  otherwise  I should 
have  answered  it,  and  thanked  you  for  it,  the  same 
day.  Pray  do  often  write  to  me.  Above  all,  I feel 
grateful  to  you  for  your  admonitions  as  to  industry,  and 
my  own  work.  Beheve  me,  I intend  to  profit  by  your 
advice ; still  I do  assure  you  that  I have  not  an  atom 
of  that  philosophy  which  would  counsel  me  to  give 
way  to  indolence,  or  even  in  any  degree  to  palliate  it. 
During  the  last  few  weeks,  it  is  true,  I have  been  inces- 
santly engaged  in  active  business,  but  exclusively  of  a 
nature  to  teach  me  much  that  was  important,  and  cal- 
culated to  improve  me  in  my  profession ; and  thus  I 
never  lost  sight  of  my  work. 

My  having  composed  beforehand  the  pieces  bespoken 
by  the  Philharmonic  and  the  English  publishers,  was 
owing  not  only  to  having  received  the  commission,  but 
also  to  my  own  inward  impulse,  because  it  is  really 
3 


26 


Mendelssohn’s  letters. 


very  long  since  I have  written  or  worked  at  anything 
steadily,  for  which  a certain  mood  is  indispensable. 
But  all  this  tends  to  the  same  point ; so  I certainly  do 
not  believe  that  these  recreations  will  dispose  me  to 
become  either  more  careless  or  more  indolent ; and,  as 
I said  before,  they  really  are  not  mere  amusements,  but 
positive  work,  and  pleasant  work  often,  too.  A good 
performance  in  the  Diisseldorf  theatre  does  not  find  its 
way  into  the  world  at  large, — indeed,  scarcely  perhaps 
beyond  the  Ddssels  themselves;  but  if  I succeed  in 
thoroughly  delighting  and  exciting  both  my  own  feel- 
ings and  those  of  all  in  the  house  in  favour  of  good 
music,  that  is  worth  something,  too  ! 

The  week  before  the  “ Wassertrager”  was  given  was 
most  fatiguing ; every  day  two  great  rehearsals,  often 
from  nine  to  ten  hours  each  on  an  average,  besides  the 
preparations  for  the  church  music  this  week : so  that  I 
was  obliged  to  undertake  the  regulation  of  everything, 
— the  acting,  the  scenery,  and  the  dialogue, — or  it 
would  all  have  gone  wrong.  On  Friday,  therefore,  I 
came  to  my  desk  feeling  rather  weary ; we  had  been 
obliged  to  have  a complete  general  rehearsal  in  the  fore- 
noon, and  my  right  arm  was  quite  stiff.  The  audience, 
too,  who  had  neither  seen  nor  heard  of  the  “ Wasser- 
trager  ” for  the  last  fifteen  or  twenty  years,  were  under 
the  impression  that  it  was  some  old  forgotten  opera, 
which  the  committee  wished  to  revive,  and  all  those 
on  the  stage  felt  very  nervous.  This,  however,  gave 
exactly  the  right  tone  to  the  first  act;  such  tremor, 
excitement,  and  emotion  pervaded  the  whole,  that  at 
the  second  piece  of  music  the  Diisseldorf  opposition 
kindled  into  enthusiasm,  and  applauded  and  shouted 


THE  WASSERTRAGErJ 


27 


and  wept  by  turns.  A better  Wassertrager  than  Glln- 
ther  I never  saw ; he  was  most  touching  and  natural, 
and  yet  with  a shade  of  homeliness,  too,  so  that  the 
noblesse  might  not  appear  too  factitious.  He  was  im- 
mensely applauded,  and  twice  called  forward;  this 
rather  spoiled  him  for  the  second  performance,  when 
he  overacted  his  part,  and  was  too  confident;  but  I 
wish  you  could  have  seen  him  the  first  time  ! It  is  long 
since  I have  had  such  a dehghtful  evening  in  the  theatre, 
for  I took  part  in  the  performance  hke  one  of  the  spec- 
tators, and  laughed,  and  applauded,  and  shouted 
bravo  I”  yet  conducting  with  spirit  all  the  time;  the 
choruses  in  the  second  act  sounded  as  exact  as  if  fired 
from  a pistol.  The  stage  was  crowded  between  the 
acts,  every  one  pleased,  and  congratulating  the  singers. 
The  orchestra  played  with  precision,  except  some  plaguy 
fellows  who,  in  spite  of  aU  my  threats  and  warnings, 
could  not  be  prevailed  on  to  take  their  eyes  ofi*  the 
stage  during  the  performance,  and  to  look  at  their 
notes.  On  Sunday  it  was  given  again,  and  did  not  go 
half  so  well ; but  I had  my  full  share  of  enjoyment  the 
first  time,  though  the  house  on  this  second  occasion 
was  far  more  crowded,  and  the  efiect  the  same.  I write 
you  all  these  details,  dear  Father,  for  I know  that  you 
are  interested  in  this  opera,  and  in  our  provincial 
doings.  We  really  have  as  much  music,  and  as  good 
music,  as  could  be  expected  during  my  first  winter 
here.  To-morrow  evening  (Grood  Friday)  we  are  to 
sing  in  church  the  “Last  Seven  Words”  of  Palestrina, 
which  I found  in  Cologne,  and  a composition  of  Lasso, 
and  on  Sunday  we  give  Cherubini’s  Mass  in  C major. 
The  Government  order  prohibiting  the  celebration  of 


28 


Mendelssohn’s  letters. 


the  Musical  Pestival  on  Whitsunday  is  a bad  business ; 
tlie  news  came  yesterday,  and  has  inflicted  such  a blow 
on  the  festival  that  here  we  have  no  idea  how  it  can  be 
arranged,  for  on  no  other  day  can  we  reckon  on  so 
much  support  from  strangers.  The  first  meeting  of  the 
Theatrical  Association  took  place  recently ; the  matter 
has  been  very  sensibly  begun,  and  may  turn  out  well ; 
but  I keep  out  of  the  way,  because,  in  spite  of  the 
pleasure  that  the  opera,  for  instance,  lately  caused  me, 
I can  feel  no  sympathy  for  actual  theatrical  life,  or  the 
squabbles  of  the  actors  and  the  incessant  striving  after 
effect;  it  also  estranges  me  too  much  from  my  own 
chief  purpose  in  Diisseldorf,  which  is  to  work  for  my- 
self. I am  the  chief  superintendent  of  the  musical  per- 
formances, the  arrangements  of  the  orchestra,  and  the 
engagement  of  the  singers,  and  about  every  month  I 
have  an  opera  to  conduct  (but  even  this  is  to  depend 
on  my  own  convenience) ; of  course  I still  have  my 
three  months’  vacation : in  short,  I wish  to  be  entirely 
independent  of  the  theatre,  and  only  to  be  considered 
a friend,  but  with  no  official  duties ; on  this  account  I 
have  given  up  all  claim  to  any  salary,  which  is  to  be 
transferred  to  a second  conductor,  on  whom  the  chief 
trouble  will  devolve.  A circumstance  that  occurred 
yesterday  will  amuse  you.  During  the  Carnival  there 
was  a pretty  girl  here  who  played  the  piano,  the 
daughter  of  a manufacturer  near  Aix-la-Chapelle,  and 
whose  relations,  though  strangers  to  me,  asked  me  to 
allow  her  to  play  to  me  occasionally,  to  benefit  by  my 
advice, — in  fact,  to  give  her  a few  lessons.  This  I ac- 
cordingly did,  and  read  her  some  severe  lectures  on  all 
her  Herz  music  and  so  forth,  and  on  the  day  of  her 


SEYDELMANNS  ACTING. 


29 


departure  she  left  this  with  a quantity  of  newly-pur- 
chased Mozart  and  Beethoven ; so  yesterday  an  h ed  a 
large  parcel  for  me,  with  a very  polite  letter  of  thanks 
from  her  father,  saying  he  had  sent  me  a piece  of  cloth 
from  his  manufactory,  as  an  acknowledgment.  I could 
scarcely  believe  this  at  first,  but  the  parcel  really  con- 
tained enough  of  the  finest  black  cloth  to  make  an  en- 
tire suit.  This  savours  of  the  Middle  Ages;  the  painters 
are  mad  with  envy  at  my  good  luck. 

Last  week  I had  a great  pleasure,  for  Seydelmann, 
from  Stuttgart,  was  here,  and  enchanted  us  all.  I have 
not  felt  such  unalloyed  delight  since  I saw  Wolff;  so 
artistic,  so  elevated : such  acting  proves  what  a noble 
thing  a play  may  be.  I saw  him  first  in  the  “ Essig- 
handler”  and  “Koch  Yatel.”  People  compare  him  to 
Iffland ; but  I never  in  my  life  heard  so  thrilling  a voice, 
or  such  pure  harmonious  German.  I then  saw  him  as 
Cromwell,  in  Raupach’s  “ Royalisten ; ” it  was  the  first 
piece  I had  seen  of  Raupach’s,  and  I am  not  the  least 
anxious  to  see  a second,  for  I thought  it  quite  odious ; 
incongruous,  tiresome,  and  full  of  theatrical  phrases,  so 
that  even  Seydelmann  could  not  give  it  dignity  in  spite 
of  his  stern  and  gloomy  countenance  and  costume ; but 
then  came  “Nathan,”  which  went  off  admirably,  and 
Seydelmann,  as  Nathan,  could  not  be  excelled.  I 
thought  of  you,  and  wished  you  were  here,  a hundred 
times  at  least;  when  he  told  the  story  of  the  rings,  it  was 
just  as  if  you  saw  a broad  tranquil  stream  gliding  past, 
so  rapid  and  flowing,  and  yet  so  smooth  and  unruffled ; 
the  words  of  the  discreet  judge  were  most  exciting.  It 
is  indeed  a splendid  piece ! It  is  good  to  know  that 
there  is  such  clearness  in  the  world.  It,  however,  of- 
3* 


30 


Mendelssohn’s  letters. 


fends  many ; and  when  we  were  next  day  on  the  G-ra- 
fenberg  we  had  war  to  the  knife,  because  Schadow  was 
so  irritable  on  the  subject,  and  a gentleman  from  Berlin 
declared,  that  ^‘viewed  in  a dramatic  aspect ...”  I 
did  not  argue  the  point  at  all,  for  where  there  is  such  a 
total  difference  of  opinion  on  any  subject,  and  about 
first  principles,  there  is  nothing  to  be  done. 

I must  now  ask  your  advice  on  a particular  subject. 
I have  long  wished  to  ride  here,  and  when  Lessing 
lately  bought  a horse,  he  advised  me  strongly  to  do  the 
same.  I think  the  regular  exercise  would  do  me  good, 
— this  is  in  favour  of  the  scheme  ; but  against  it  there 
is  the  possibihty  of  its  becoming  an  inconvenient  and 
even  tyrannical  custom,  as  I should  think  it  my  duty  to 
ride,  if  possible,  every  day.  Then  I also  wished  to 
ask  you  whether  you  don’t  think  it  rather  too  genteel 
for  me,  at  my  years,  to  have  a horse  of  my  own.  In 
short,  I am  undecided,  and  beg  now,  as  I have  often 
done  before,  to  hear  your  opinion,  by  which  mine  will 
be  regulated.  Farewell,  dear  Father. — Your 

Felix. 


To  Fanny  Hensel,  Berlin. 

Dusseldorf,  April  Ttli,  1S84. 

Dear  Fanny, 

You  are  no  doubt  very  angry  with  such  a lazy  non- 
writing creature  as  myself  ? but  pray  remember  that  I 
am  a town  music  director,  and  a beast  of  burden  like 
that  has  much  to  do.  Lately  on  my  return  home  I 
found  two  chairs  standing  on  my  writing-table,  the 


OVERTURE  TO  “ MELUSINA. 


31 


guard  of  the  stove  lying  under  the  piano,  and  on  my 
bed  a comb  and  brush,  and  a pair  of  boots  (Bendemann 
and  Jordan  had  left  these  as  visiting-cards).  This  was, 
or  rather  is,  the  exact  state  of  musical  life  in  Dtissel- 
dorf ; and  before  things  become  more  orderly  here,  it 
will  cost  no  little  toil.  So  you  must  now  more  than 
ever  excuse  my  indolence  about  letter-writing,  and, 
indeed,  write  yourself  oftener  to  stir  me  up,  and  heap 
coals  of  fire  on  my  head.  Your  letter  to  which  I am 
now  replying,  was  inimitable  ; a few  more  such  I beg. 
You  say,  by  the  by,  that  you  speak  of  ^^Melusina”  just 

hke  X . I only  wish  this  was  true,  and  then, 

instead  of  a meagre  Hofrath^  we  should  have  a solid 
fellow;  but  listen!  I must  fly  into  a passion.  Oh, 
Banny,  you  ask  me  what  legend  you  are  to  read  ? How 
many  are  there,  pray  ? and  how  many  do  I know  ? and 
don’t  you  know  the  story  of  the  “ lovely  Melusina”  ? 
and  would  it  not  be  better  for  me  to  hide  myself,  and 
to  creep  into  all  sorts  of  instrumental  music  without 
any  title,  when  my  own  sister  (my  wolf  sister !)  does 
not  appreciate  such  a title  ? Or  did  you  really  never 
hear  of  this  beautiful  fish  ? But  when  I remember  how 
you  might  grumble  at  me  for  waiting  till  April  to 
grumble  at  your  letter  of  February^  I plead  guilty  and 
apologize.  I wrote  this  overture  for  an  opera  of  Con- 
radin  Kreuzer’s,  which  I saw  this  time  last  year  in  the 
Konigstadt  Theatre.  The  overture  (I  mean  Kreuzer’s) 
was  encored,  and  I disliked  it  exceedingly,  and  the 
whole  opera  quite  as  much ; but  not  Mile.  Hahnel,  who 
was  very  fascinating,  especially  in  one  scene,  where  she 
appeared  as  a mermaid  combing  her  hair ; this  inspired 
me  with  the  wish  to  write  an  overture  which  the  people 


’62 


Mendelssohn’s  letters. 


might  not  encore^  but  which  would  cause  them  more 
solid  pleasure ; so  I selected  the  portion  of  the  subject 
that  pleased  me  (exactly  corresponding  with  the 
legend),  and,  in  short,  the  overture  came  into  the 
world,  and  this  is  its  pedigree. 

You  intend,  no  doubt,  to  take  me  to  task  also  on  ac- 
count of  the  Tour-part  song  in  my  “ Yolks  Lieder but 
I have  a good  deal  of  experience  on  this  point.  It  seems 
to  me  the  only  mode  in  which  Volks  Lieder  ought  to 
be  written ; because  every  pianoforte  accompaniment 
inst-antly  recalls  a room  and  a music-desk,  and  also 
because  four  voices  can  give  a song  of  this  kind  in 
greater  simplicity  without  an  instrument ; and  if  that 
reason  be  too  aesthetic,  then  accept  this  one,  that  I was 
anxious  to  write  something  of  the  kind  for  Woringen, 
who  sings' these  things  enchantingly.  Seriously,  how- 
ever, I find  that  the  four-part  songs  do  “suit  the  text 
(as  a Volks  Lied)  and  also  my  conception,”  and  so  you 
see  we  differ  very  widely. 

By  the  by,  I quite  forgot  to  say  that  I wished  to  in- 
troduce a Waldteufel  into  the  “Passion.”  It  is  a 
good  idea.  Don’t  whisper  it  to  any  one,  or  to  a cer- 
tainty they  will  really  attempt  it  next  year;  and 
Polchau  declares  the  Eomans  were  familiar  with  them, 
under  the  name  of  diabolus  nemoris.  Onl}^  fancy,  they 
have  sent  me  my  Academy  patent  in  a formidable  red 
case  (cariiage  paid),  and  in  it  a very  ancient  statute  of 
the  “Academy  for  the  fine  arts  and  mechanical 
sciences,”  along  with  a complimentary  letter,  hoping 
I would  return  to  Berlin,  where  my  “productions” 
were  as  highly  prized  as  elsewhere.  An  excellent 
reason;  had  they  only  said  “because,  respected  Sir, 


DUSSELDORF  TROUBLES. 


33 


you  can  nowhere  feel  so  happy  as  in  the  Leipziger 
Strasse,  iSTo.  3,”  or  even  given  any  hint  about  parents 
and  brother  and  sisters — but  not  a word  of  this ! 

One  of  my  Diisseldorf  troubles  is  at  this  moment 
beginning ; I mean  my  next-door  neighbour,  who  has 
placed  her  piano  against  the  wall  just  on  the  other 
side  of  mine,  and  to  my  sorrow  practises  two  hours  a 
day,  making  every  day  the  same  mistakes,  and  playing 
all  Rossini’s  airs  in  such  a desperately  slow,  phlegmatic 
tempo j that  I certainly  must  have  played  her  some 
malicious  trick,  had  it  not  occurred  to  me  that  she  was 
probably  at  all  hours  more  tormented  by  my  piano  than 
I by  hers.  Then  I sometimes  hear  the  teacher  or  the 
mother  (I  can’t  tell  which)  strike  the  right  note  dis- 
tinctly seventeen  times  in  succession ; and  when  she  is 
playing  at  sight,  and  gradually  out  of  the  darkness  de- 
velopes  some  old  barrel-organ  tune,  which  could  be  re- 
cognized by  a single  note, — it  is  hard  to  bear.  I know 
all  her  pieces  by  heart  now,  the  moment  she  strikes  the 
first  chord. — Farewell,  dear  Sister.  Ever  your 

Felix. 


To  HIS  Mother. 

Dusseldorf,  May  23d,  1834. 

. . . Yesterday  week  I drove  with  the  two  Worin- 
gens  to  Aix-la-Chapelle,  as  a ministerial  order  was 
issued,  only  five  days  before  the  festival,  sanctioning 
the  celebration  of  Whitsunday,  and  expressed  in  such  a 
manner  that  it  is  probable  the  same  permission  may  be 


34 


Mendelssohn’s  letters. 


given  next  year  also.  The  diligence  was  eleven  hours 
on  the  journey,  and  I was  shamefully  impatient,  and 
downright  cross  when  we  arrived.  We  went  straight 
to  the  rehearsal,  and,  seated  in  the  pit,  I heard  a move- 
ment or  two  from  Deborah;”  on  which  I said  to 
Woringen,  I positively  will  write  to  Hiller  from  here, 
for  the  first  time  for  tWo  years,  because  he  has  per- 
formed his  office  so  well.”  For  really  his  work  was  un- 
pretending and  harmonious,  and  subordinate  to  Handel, 
from  whom  he  had  cut  out  nothing ; so  I was  rejoiced  to 
see  that  others  are  of  my  opinion,  and  act  accordingly. 
In  the  first  tier  was  seated  a man  with  a moustache, 
reading  the  score;  and  when,  after  the  rehearsal,  he 
went  downstairs,  and  I was  coming  up,  we  met  in  the 
passage,  and  who  should  stumble  right  into  my  arms 
but  Ferdinand  Hiller,  who  almost  hugged  me  to  death 
for  joy ! He  had  come  from  Paris  to  hear  the  oratorio, 
and  Chopin  had  left  his  scholars  in  the  lurch  and  come 
with  him,  and  thus  we  met  again.  I had  now  my  full 
share  of  delight  in  the  Musical  Festival,  for  we  three 
lived  together,  and  got  a private  box  in  the  theatre 
(where  the  oratorio  is  performed),  and  of  course  next 
morning  we  betook  ourselves  to  the  piano,  where  I had 
the  greatest  enjoyment.  They  have  both  improved 
much  in  execution,  and,  as  a pianist,  Chopin  is  now  one 
of  the  very  first  of  all.  He  produces  new  effects,  hke 
Paganini  on  his  violin,  and  accomplishes  wonderful  pas- 
sages, such  as  no  one  could  formerly  have  thought 
practicable.  Hiller,  too,  is  an  admirable  player — vigo- 
rous, and  yet  playful.  Both,  however,  rather  toil  in  the 
Parisian  spasmodic  and  impassioned  style,  too  often 
losing  sight  of  time  and  sobriety  and  of  true  music  ; I, 


CHOPIN  AND  Hiller’s  piano  playinh.  35 

again,  do  so  perhaps  too  little : thus  we  all  three  mutually 
learn  something  and  improve  each  other,  while  I feel 
rather  like  a school-master,  and  they  a little  hke  mirli- 
flors  or  incroydbles.  After  the  festival  we  travelled 
together  to  Diisseldorf,  and  passed  a most  agreeable  day 
there,  playing  and  discussing  music ; then  I accompa- 
nied them  yesterday  to  Cologne.  Early  this  morning 
they  went  off  to  Coblenz  per  steam, — I in  the  other  di- 
rection,— and  the  pleasant  episode  was  over. 


To  Pastor  Julius  Schubring,  Dessau. 

Diisseldorf,  July  15th,  1834. 

Dear  Schubring, 

It  is  now  nearly  a year  since  I ought  to  have  writ- 
ten to  you.  I shall  not  attempt  to  ask  your  forgiveness 
at  all,  for  I am  too  much  to  blame,  or  to  excuse  myself, 
for  I could  not  hope  to  do  so.  How  it  occurred  I can- 
not myself  understand.  Last  autumn,  when  I first  es- 
tablished myself  here,  I got  your  letter  with  the  notices 
for  “ St.  Paul;”  they  were  the  best  contributions  I had 
yet  received,  and  that  very  same  forenoon  I began  to 
ponder  seriously  on  the  matter,  took  up  my  Bible  in  the 
midst  of  all  the  disorder  of  my  room,  and  was  soon  so 
absorbed  in  it  that  I could  scarcely  force  myself  to  at- 
tend to  other  works  which  I was  absolutely  obliged  t(v 
finish.  At  that  time  I intended  to  have  written  to  you 
instantly,  to  thank  you  cordially  for  all  you  had  done  ; 
then  it  occurred  to  me  it  would  be  better  to  wait  till  1 
could  teU  you  that  the  work  was  fairly  begun ; and 


36 


Mendelssohn’s  letters. 


when  I really  did  commence  in  spring,  so  many  anxie- 
ties about  my  composition  ensued,  that  they  unsettled 
me.  To-day,  however,  I cannot  rest  satisfied  with 
merely  thinking  of  you,  but  must  write  and  ask  how 
you  and  yours  are  ; for  I know  that  since  then  you 
have  had  an  increase  to  your  family ; it  was  scarcely 
fair  in  you  not  to  write  me  a single  word  on  the  sub- 
ject, nor  even  to  send  me  a formal  card,  but  to  allow 
me  to  hear  of  the  event  by  chance,  through  a third  per- 
son ; for,  though  I grant  that  I well  deserved  this,  still 
a pastor  like  you  should  be  the  last  to  take  revenge  on 
any  one,  or  to  bear  them  a grudge.  Now,  pray  don’t 
do  so  with  me,  and  let  me  hear  something  of  you. 

Your  contributions  for  St.  Paul”  were  admirable, 
and  I made  use  of  them  aU  without  exception ; it  is  sin- 
gular, and  good,  that,  in  the  course  of  composition,  all 
the  passages  that  from  various  reasons  I formerly  wish 
to  transpose  or  to  alter,  I have  replaced  exactly  as  I 
find  them  in  the  Bible — it  is  always  the  best  of  all ; 
more  than  half  of  the  first  part  is  ready,  and  I hope  to 
finish  it  in  autumn,  and  the  whole  in  February.  How 
are  you  now  living  in  Dessau  ? I hope  you  will  be  able 
to  say,  “Just  as  we  used  to  do.”  No  doubt  you  retain 
your  enjoyment  of  life,  and  your  cheerfulness,  and  still 
play  the  p'ano,  and  still  love  Sebastian  Bach,  and  are 
still  what  you  always  were.  I ought  not  to  feel  such 
anxiety  on  the  subject,  but  we  are  surrounded  here  by 
disagreeable  specimens  of  pastors,  who  embitter  every 
pleasure,  either  of  their  own  or  of  others ; dry,  prosaic 
pedants,  who  declare  that  a concert  is  a sin,  a walk 
frivolous  and  pernicious,  but  a theatre  the  lake  of  brim- 
stone itself,  and  the  whole  spring,  with  its  leaves  and 


THE  ELBERFELD  TENETS. 


37 


blossoms  and  bright  weather,  a Slough  of  Despond. 
You  have  no  doubt  heard  of  the  Elberfeld  tenets ; but 
when  in  contact  with  them,  they  are  still  worse,  and 
most  grievous  to  witness.  The  most  deplorable  thing 
is  the  arrogance  with  which  such  people  look  down  on 
others,  having  no  belief  in  any  goodness  but  their  own. 

Our  musical  life  here  goes  on  slowly,  but  still  it  does 
go  on.  This  summer  we  executed  in  church  a Mass  of 
Beethoven,  one  of  Cherubini,  and  cantatas  of  Sebastian 
Bach,  an  ^‘Ave  Maria”  from  ^‘Yerleih’  uns  Frieden,” 
and  next  month  we  are  to  give  Handel’s  “ Te  Deum  ” 
(Dettingen). 

Of  course  there  is  yet  much  to  be  wished  for,  but  still 
we  hear  these  works,  and  both  the  performance  and  the 
performers  will  be  gradually  improved  by  them.  Hau- 
ser, in  Leipzig,  has  arranged  the  score  (from  manuscript 
parts)  of  a cantata  in  E minor  of  Sebastian  Bach,  which 
is  one  of  the  finest  things  of  his  I know.  When  I can 
find  an  opportunity,  I will  send  you  a copy  of  it,  but 
now  my  paper  and  my  letter  are  done.  Farewell,  my 
dear  firiend,  and  write  soon. — Your 

Felix  Mendelssohn  Bartholdy. 


To  L Furst,  Berlin. 


Dusseldorf,  July  20th,  1834 . 

Dear  Fiirst, 

I know  only  too  well  that  I have  neither  written  to 
you,  nor  thanked  you,  since  I received  your  passages  for 

4 


38 


MENDELSSOHNS  LETTERS. 


‘‘  St.  Paul ; ” * but  I assure  you  that  every  day,  when  I 
return  to  my  work,  1 do  feel  sincerely  grateful  to  you. 
I certainly,  however,  ought  to  have  written ; for  if  the 
work,  which  since  the  spring  entirely  absorbs  and 
monopolizes  me,  turns  out  good,  I shall  have  chiefly  to 
thank  your  friendly  aid  for  it,  because  I never  other- 
wise could  have  procured  the  groundwork  of  the  text. 
When  I am  composing,  I usually  look  out  the  Scriptural 
passages  myself,  and  thus  you  will  find  that  much  is 
simpler,  shorter,  and  more  compressed  than  in  your 
text;  whereas  at  that  time  I could  not  get  words 
enough,  and  was  constantly  longing  for  more.  Since  I 
have  set  to  work,  however,  I feel  very  difierently,  and 
I can  now  make  a selection.  The  first  part  will  probably 
be  finished  next  month,  and  the  whole,  I think,  by 
January.  Since  last  autumn,  when  I came  here,  I have 
written  many  other  works  which  brought  me  into  a 
happy  vein,  and  I cannot  wish  for  a more  agreeable 
position  than  mine  here,  where  I have  both  leisure  in 
abundance,  and  a cheerful  frame  of  mind,  and  so  I suc- 
ceed better  than  formerly. 

This  is,  indeed,  a pleasant,  concentrated  life,  but  still 
not  so  much  so  as  you  may  perhaps  imagine,  for,  un- 
luckily, just  as  I came  here,  Immermann  and  Schadow, 
whose  combined  efibrts  first  imparted  life  and  animation 
to  this  place,  had  a violent  quarrel,  aggravated  still 
further  by  religious,  political  grounds,  and  by  wran- 
glings,  misunderstandings,  and  petulance.  As  I live  in 
the  same  house  with  Schadow,  and  am  engaged  along 
with  Immermann  in  regulating  the  new  theatre,  I do 


* For  the  text  of  “ St.  Paul.’ 


39 


FAIR  AT  DtisSELDORF. 

all  I can  to  smooth  over  matters ; but  in  vain, — which 
is  a great  misfortune.  When,  however,  this  is  rectified 
(and,  in  spite  of  everything,  I do  not  despair  of  it), 
then  all  will  be  delightful,  for  the  way  in  which  we 
young  people  associate  is  really  enjoyable.  The  painters 
are  entirely  devoid  of  the  slightest  arrogance  or  envy, 
and  live  together  in  true  friendship,  and  among  them 
are  some  of  the  most  admirable  persons,  who  are 
examples  to  the  others,  such  as  Hildebrand,  and  Bende- 
mann,  and  between  them  the  — the  tall,  quiet 

Lessing.  All  this  is  cheering ; and  if  you  could  only 
hear  in  our  church  music  the  bass  of  the  choir,  it  would 
do  your  heart  good  to  see  one  capital  fellow  of  a painter 
standing  next  another,  and  all  shouting  like  demons. 
This  very  morning  we  had  some  very  good  music  in 
the  church,  in  which  all  took  part ; and  when  Immer- 
mann  gives  a new  piece,  they  paint  the  decorations  for 
it  gr  atis,  and  when  they  have  a feast,  he  composes  a 
poem  for  them,  which  I set  to  music, — and  all  tliis  is 
pleasant,  and  in  good-fellowship. 

But  there  is  a fair  to-day,  which  means  that  the  whole 
of  Diisseldorf  are  drinking  wine, — not  as  if  this  were 
not  the  case  every  day,  but  they  walk  about  besides ; 
not  as  if  they  did  not  do  this  also  every  day,  but  they 
dance  besides  (in  this  frightful  heat),  and  shout,  and  get 
tipsy ; and  wild  beasts  are  exhibited,  and  puppet-shows, 
and  cakes  baked  in  the  public  streets.  So  now  you 
know  what  a fair  means.  As  a curious  spectator,  I 
must  go  there  late  in  the  evening,  but,  first,  I intend  to 
plunge  into  the  Ehine  with  a lot  of  painters.  Fare- 
well, till  we  meet  in  Berhn,  in  September. — Ever  yours, 
Felix  Mendelssohn  Bartholdv. 


40 


MENDELSSOHNS  LETTERS. 


To  HIS  Parents. 

Diisseldorf,  August  4th,  1834. 

My  dear  Parents, 

For  a week  past,  during  which  we  have  had  heavy 
storms  and  a very  sultry  atmosphere,  I felt  so  jaded 
that  I was  unable  to  do  anything  all  day  long ; more 
especially  I cannot  compose,  which  vexes  me  exceed- 
ingly. I seem  to  care  for  nothing  beyond  eating  and 
sleeping,  and  perhaps  bathing  and  riding.  My  horse  is 
a favourite  with  all  my  acquaintances,  and  deserves 
their  respect  from  his  good  temper ; but  he  is  very  shy  ; 
and  when  I was  riding  him  lately  during  a storm,  every 
flash  made  him  start  so  violently,  that  I felt  quite  sorry 
for  him.  Lately  we  made  an  excursion  on  horseback 

to  Saarn,  for  Madame  T ^s  birthday,  which  was 

celebrated  by  wreaths  of  flowers,  fireworks,  shooting,  a 
large  society,  a ball,  etc.  etc.  The  route  was  as  charm- 
ing as  ever,  though  different  from  what  it  was  in 
spring ; the  apple-tree  in  the  bowling-green,  which  was 
then  in  blossom,  was  now  loaded  with  unripe  green 
apples ; and  sometimes  I was  able  to  ride  across  the 
stubble-fields  and  to  get  into  the  thick  shady  wood  by 
a side  path.  We  met  several  diligences  at  the  very 
same  places,  and  even  the  very  same  flocks  of  sheep, 
and  there  was  the  same  noisy,  merry  life  going  on  in 
the  blacksmith’s  forge,  and  a burgher  in  Eathingen  was 
shaving  himself  just  the  same, — thus  reviving  my  old 
philosophy,  which  you,  dear  Father,  always  ignore. 

The  next  day  I rode  on  to  Werden,  a charming  re- 
tired spot,  where  I wished  to  inquire  about  an  organ  ; 
the  whole  party  drove  with  me  there ; cherry  tarts 


BATHING  IN  THE  RUHR. 


41 


were  handed  to  me  on  horseback  out  of  the  carriages. 
We  dined  in  the  open  air  atWerden;  I played  fan- 
tasias and  Sebastian  Bachs  on  the  organ  to  my  heart’s 
content;  then  I bathed  in  the  Ruhr,  so  cool  in  the 
evening  breeze  that  it  was  quite  a luxury,  and  rode 
quietly  back  to  Saarn.  The  bathing  in  the  Ruhr  was 
peculiarly  agreeable ; first  of  all,  a spot  close  to  the 
water  with  high  grass,  in  which  large  hewn  stones  were 
lying,  as  if  placed  there  by  some  Sultan  to  shade  him 
and  his  clothes;  then  close  to  the  shore  the  water 
comes  up  to  your  chin,  and  the  green  hills  opposite 
w^e  brightly  lighted  up  by  the  evening  sun ; and  the 
little  stream  flowing  very  quietly  along,  and  so  cool  and 
shady.  I felt  myself  in  G-ermany  indeed  when,  as  I 
was  swimmmg  across,  a man  on  the  opposite  bank  sud- 
denly stood  still,  and  began  a regular  conversation  with 
me  while  I lay  in  the  water  puffing, — whether  I could 
touch  the  ground  where  I was  ? and  if  swimming  was 
very  difficult  ? Then,  too,  I felt  myself,  alas  I quite  in 
Germany  when  the  wife  of  the  organist,  to  whom  I paid 
a visit,  offered  me  a glass  of  schnapps^  and  regretted  so 
much  that  her  husband  was  absent  just  at  this  time, 
for  he  had  so  many  enemies,  who  all  maintained  that  he 
could  not  play  the  organ,  and  he  might  have  played  to 
me,  and  then  by  my  judgment  (like  Solomon)  I could 
have  put  to  shame  all  these  talkers.  Wrangling  and 
discord  are  to  be  found  everywhere.  A handsome  new 
organ  has  just  been  put  up  at  considerable  expense  in 
a large  roomy  choir,  and  there  is  no  way  to  reach  it  but 
by  narrow  dark  steps,  without  windows,  like  those  in  a 
poultry-yard,  and  where  you  may  break  your  neck  in 
seventeen  different  places ; and  on  my  asking  why  this 
4* 


42 


MENDELSSOHNS  LETTERS. 


was,  the  clergyman  said  it  had  been  left  so  purposely, 
in  order  to  prevent  any  one  who  chose,  running  up 
from  the  church  to  see  the  organ.  Yet,  with  all  their 
cunning,  they  forget  both  locks  and  keys : such  traits 
are  always  painful  to  me. 

The  evening  before  this  Saarn  excursion  (a  week 
since)  I had  a very  great  pleasure.  I had  received  the 
proof-sheets  of  my  rondo  in  E flat,  from  Leipzig,  and, 
as  I was  unwilling  to  have  it  published  without  at  least 
trying  it  over  once  with  the  orchestra,  I invited  all 
our  musicians  here  to  come  to  the  music  hall,  and 
played  it  over  with  them.  As  I could  not  offer  tl^em 
any  payment  for  this,  which  they  would  have  taken 
highly  amiss,  I gave  them  a souper  of  roast  veal  and 
bread-and-butter,  and  let  them  get  as  tipsy  as  they 
could  desire.  This  was  not,  however,  the  great  plea- 
sure I alluded  to,  but  my  overture  to  “ Melusina,” 
which  was  played  there  for  the  first  time,  and  pleased 
me  extremely.  In  many  pieces  I know  from  the  very 
beginning  that  they  will  sound  well,  and  be  characteris- 
tic, and  so  it  was  with  this  one  as  soon  as  the  clarionet 
started  off  into  the  first  bar.  It  was  badly  played; 
and  yet  I derived  more  pleasure  from  it  than  many  a 
finished  performance,  and  came  home  at  night  with  a 
gladness  of  heart  that  I have  not  known  for  a long 
time.  We  played  it  over  three  times,  and  the  third 
time,  immediately  after  the  last  soft  chord,  the  trumpets 
broke  in  with  a flourish  in  my  honour,  which  had  a 
most  laughable  effect.  It  was  very  pleasant,  too,  when 
we  v/ere  all  seated  at  dinner,  and  one  of  the  company 
commenced  a long  oration,  with  an  introduction  and 
all  sorts  of  things,  but,  beginning  to  flounder,  he  wound 


THE  QUEEN  OF  BAVARIA. 


43 


up  by  giving  my  health,  on  which  the  ti^umpet  and 
trombone  players  jumped  up  like  maniacs,  and  ran  off 
for  their  instruments  to  give  me  another  grand  flourish ; 
then  I made  a vigorous  speech,  worth  of  Sir  Eobert 
Peel,  in  which  I strongly  enforced  unity,  and  Christian 
love,  and  steady  time,  and  with  a toast  to  the  progr(^ss 
of  music  at  Diisseldorf  I closed  my  oration.  Then 
they  sang  four-part  songs,  and,  among  others,  one  that 
I gave  to  Woringen  last  year  at  the  Musical  Festival, 
called  “ Musikantenpriigelei,”  the  transcriber  (one  of 
the  players  and  singers  present)  having  copied  it  for  his 
own  benefit  at  the  time,  and  coolly  produced  it  on  this 
occasion,  which,  indeed,  I could  not  myself  help  laugh- 
ing at.  Then  they  all  vowed  that  this  was  the  most 
delightful  evening  of  their  whole  lives;  then  they 
began  to  wrangle  again  a little,  as  a proof  of  the  strong 
effect  my  Peel  speech  had  made  on  them ; then  the 
sober  ones  of  the  party,  videlicet^  fat  Schirmer  and  I, 
pacified  them  once  more,  and  towards  midnight  we 
separated ; they  having  enjoyed  the  wine,  and  I still 
more  “ the  lovely  Melusina,”  and  next  morning  at  six 
o’clock  I was  on  horseback  on  my  way  to  Saaran.  A 
couple  of  charming  days  they  were  ! 

Dear  mother,  I saw  the  Queen  of  Bavaria,  but  not  in 
state.  I was  seated  in  a boat,  and  just  going  to  jump 
into  the  Rhine  with  two  friends,  when  her  Majesty 
arrived  in  her  steamboat.  As  none  of  us  possessed  any 
swimming  attire,  so  were  not  in  a very  fit  state  to 
appear  at  Court,  we  sprang  just  a tempo  into  the  water 
as  she  came  nearer,  and  thence  saw  all  the  ceremonies, 
and  how  Graf  S presented  the  clergy  and  the  Gene- 

rals, and  how  the  senatas  populusque  Dilsseldorfiensis 


44 


Mendelssohn’s  letters. 


stood  on  shore  and  made  music.  I had  no  opportunity 
of  seeing  the  Queen  again  ; but  now  I must  really  con- 
clude, having  gossiped  at  a great  rate.  Farewell,  my 
dear  parents  I 

Felix  M.  B. 


To  Pastor  Schubring,  Dessau. 

Diisseldorf,  August  6th,  1834. 

How  could  you  for  one  moment  imagine  that  I was 
annoyed  by  your  showing  the  text  to  Schneider  ? Why 
should  I take  umbrage  at  that  ? I hope  you  do  not 
consider  me  one  of  those  who,  when  once  they  have  an 
idea  in  their  heads,  guard  it  as  jealously  as  a miser  does 
his  gold,  and  allow  no  man  to  approach  till  they  pro- 
duce it  themselves.  There  is  certainly  nothing  actually 
wrong  in  this,  and  yet  such  jealous  solicitude  is  most 
odious  in  my  eyes ; and  even  if  it  were  to  occur  that 
some  one  should  plagiarize  my  design,  still  I should 
feel  the  same ; for  one  of  the  two  must  be  best,  which 
is  all  fair,  or  neither  are  good,  and  then  it  is  of  no 
consequence.  Moreover,  I feel  very  melancholy  to-day, 
and  indeed  for  some  days  past  have  been  lying  here, 
completely  knocked  up  and  unable  to  write  a line, 
whether  from  feverishness  or  the  sultriness  of  the 
weather,  or  from  what,  I know  not.  The  first  part  of 
St.  Paul”  is  now  nearly  completed,  and  I stand  before 
it  ruminating  like  a cow  who  is  afraid  to  go  through  a 
new  door,  and  I never  seem  to  finish  it ; indeed,  the 
overture  is  still  wanting,  and  a heavy  bit  of  work  it  will 


CHORUS  TO  “ ST.  PAUL. 


45 


be.  Immediately  after  the  Lord’s  words  to  St.  Paul  on 
his  conversion  I have  introduced  a great  chorus,  ‘‘  Arise 
and  go  into  the  city”  (Acts  of  the  Apostles,  ix.  6),  and 
this  I,  as  yet,  consider  the  best  moment  of  the  first 
part. 

I don’t  know  what  to  say  as  to  your  opinion  of 

X . I think  you  are  rather  hard  on  him ; and  yet 

there  is  a good  deal  of  truth  in  what  you  assert,  too, 
and  quite  in  accordance  with  what  I find  in  his  composi- 
tions. Put  my  belief  is,  that  you  do  him  great  injustice 
in  pronouncing  him  to  be  a flatterer,  as  he  never  intends 
to  flatter,  but  always  fully  believes  in  the  truth  and  pro- 
priety of  what  he  is  saying ; but  when  such  an  excita- 
ble temperament  is  not  mitigated  by  some  definite, 
energetic,  and  creative  powers,  or  when  it  can  bring 
forth  nothing  but  a momentary  assimilation  to  some 
foreign  element,  then  it  is  indeed  unfortunate ; and  I 
almost  begin  to  fear  that  this  is  his  case,  for  his  composi- 
tions I exceedingly  disapprove  of.  For  a long  time 
past  I have  reluctantly  come  to  this  conclusion,  and  it 
pained  me  as  much  to  admit  the  truth  of  it  to  myself, 
as  to  you  now. 

I grieve  also  to  hear  what  you  write  to  me  of  the 

family,  for  I know  no  feeling  more  distressing  than 

that  of  having  enemies ; and  yet  it  seems  impossible  to 
be  avoided ; at  all  events,  I can  say,  to  my  great  joy^ 
that  even  now,  when  I am  brought  into  contact  (and 
disagreeable  contact,  too)  with  so  many  different  people, 
no  one  can  say  that  there  is  one  single  person  with 
whom  I am  not  on  friendly  terms,  if  they  will  at  all 
permit  me  to  be  so ; and  I don’t  doubt  that  it,  is  the 
same  in  your  case. 


46 


Mendelssohn’s  letters. 


Your  remarks  about  the  theatre  are  quite  as  unlucky 
as  Bretschneider’s  criticisms;  for  though  I am  not 
myself  director,  I am  what  is  still  worse, — a kind  of 
Honorary  Intendant  (or  whatever  you  choose  to  call  it) 
of  the  new  theatre  here  in  spe;  and  therefore  my  of- 
ficial zeal  prompts  me  take  up  the  cause  of  the  stage. 
But,  to  speak  seriously,  I am  by  no  means  of  your 
opinion  that  the  theatre  is  pernicious  to  three-fourths 
of  mankind,  and  I believe  that  those  who  are  injured 
by  it  would  find  the  same  detriment,  or  perhaps  worse, 
elsewhere,  without  any  theatre.  For  there  at  least  we 
do  not  find  the  vapid  reality  that  exists  in  the  world ; 
and,  as  a general  rule,  I do  not  consider  anything 
wrong  in  itself  because  it  may  possibly  lead  to  bad  re- 
sults, but  only  when  it  must  inevitably  produce  them. 
In  a theatrical  public,  such  as  you  describe,  there  are 
only  depraved  people,  and  no  healthy  ones  who  visit 
the  theatre  to  see  a piece  as  a work  of  art.  I know 
that  to  myself  it  always  was  either  tiresome  or  elevat- 
ing (more  commonly  the  former,  I own)  but  pernicious 
it  never  appeared  to  me ; and  to  prohibit  it  on  that  ac- 
count . . . but  this  would  involve  a wide  sphere  and  a 
very  serious  subject,  and  politics,  tiresome  as  they  are, 
must  have  their  say  in  the  matter ; and  all  this  cannot 
be  thoroughly  discussed  in  so  small  a sheet  of  paper  as 
this : perhaps  in  conversation, — but  scarcely  even  then. 

I intended  to  have  sent  you  some  of  my  works,  but 
prefer  doing  so  from  Berlin ; the  “ Meeresstille  ” I have 
entirely  remodelled  this  winter,  and  think  it  is  now 
some  thirty  times  better.  I have  also  some  new  songs 
and  pieces  for  the  piano.  You  say  that  the  newspapers 
extol  me  ; this  is  always  very  gratifying,  though  I sel- 


nOME^  THOUGHTS. 


47 


dom  read  them,  either  the  musical  ones  or  any  others ; 
only  occasionally  English  papers,  in  which  there  are 
some  good  articles.  But  my  paper  is  becoming  by 
degrees  shorter  and  shorter,  so  my  letter  is  done.  Fare- 
well.— Your  Felix  M.  B. 


To  HIS  Mother. 

Dusseldorf,  November  4th,  1834, 

Dear  Mother, 

At  last  I have  leisure  to  thank  you  for  your  kind 
letters ; you  know  the  great  delight  your  writing  al- 
ways causes  me,  and  I would  fain  hope  that  it  does  not 
fatigue  you,  for  you  write  in  as  distinct  and  classical 
characters  at  the  end  of  the  letter  as  at  the  beginning 
of  the  first  line,  as  you  always  do ; therefore  I do  en- 
treat you  frequently  to  bestow  this  pleasure  on  me ; 
that  I am  truly  grateful  for  it  you  will  readily  believe. 

You  always  take  me  at  once  back  to  my  own  home, 
and  while  I am  reading  your  letters  I am  there  once 
more;  I am  in  the  garden  rejoicing  in  the  summer;  I 
visit  the  Exhibition,  and  dispute  with  you  about  Bende- 
mann’s  small  picture ; I rally  Grans  on  his  satisfaction 
at  being  invited  by  Metternich,  and  almost  think  I am 
again  paying  court  to  the  pretty  Eussians.  To  be  thus 
transported  home  is  most  pleasant  to  me  just  at  this 
time,  when  during  the  last  few  weeks  I have  been 
fuming  and  fretting  in  a rare  fashion  at  Dusseldorf  and 
its  art  doings,  and  Ehenish  soaring  impulses^  and  new 
efforts  I I had  fallen  into  a terrible  state  of  confusion 


48 


Mendelssohn’s  letters 


and  excitement,  and  felt  worse  than  during  my  busiest 
time  in  London.  When  I sat  down  to  my  work  in  the 
morning,  at  every  bar  there  was  a ringing  at  the  bell ; 
then  came  grumbling  choristers  to  be  snubbed,  stupid 
singers  to  be  taught,  seedy  musicians  to  be  engaged  ; 
and  when  this  had  gone  on  the  whole  day,  and  I felt 
that  all  these  things  were  for  the  sole  benefit  and  ad- 
vantage of  the  Diisseldorf  theatre,  I was  provoked ; at 
last,  two  days  ago,  I made  a salto  mortale^  and  beat  a 
retreat  out  of  the  whole  affair,  abd  once  more  feel  my- 
self a man.  This  resignation  was  a very  unpleasant 
piece  of  intelligence  for  our  theatrical  autocrat,  alias 
stage  mufti ; he  compressed  his  lips  viciously,  as  if  he 
would  fain  eat  me  up ; however,  I made  a short  and 
very  eloquent  speech  to  the  Director,  in  which  I spoke 
of  my  own  avocations  as  being  of  more  consequence  to 
me  than  the  Diisseldorf  theatre,  much  as  I,  etc. : in 
short,  they  let  me  off,  on  condition  that  I would  occa- 
sionally conduct ; this  I promised,  and  this  I will  cer- 
tainly perform.  I began  a letter  to  Rebecca  long  ago, 
containing  the  details  of  three  weeks  in  the  life  of  a 
Diisseldorf  Intendant,  which  I have  not  yet  finished, 
and  I upbraid  myself  for  it. 

I have  just  arrived  at  that  point  with  St.  Paul” 
when  I should  be  so  glad  to  play  it  over  to  some  one ; 
but  I can  find  no  eligible  person.  My  friends  here  are 
very  enthusiastic  with  regard  to  it,  but  this  does  not 
prove  much  in  its  favour.  The  cantor"^  is  wanting, 
with  her  thick  eyebrows  and  her  criticism.  I have  the 
second  part  now  nearly  all  in  my  head,  up  to  the 

* Cantor  (leader  of  a choir),  a term  Mendelssohn  often  applied  to  his 
sister  Fanny. 


OVERTURE  TO  “ ST.  PAUL,' 


49 


passage  where  they  take  Paul  for  J upiter,  and  wish  to 
offer  sacrifices  to  him,  for  which  some  five  choruses  must 
be  found ; but  as  yet  I have  not  the  faintest  concep- 
tion what  . . . it  is  difficult.  You  ask  me,  dear 

Mother,  whether  I have  made  any  arrangements  with 
publishers  in  Leipzig ; Breitkopf  and  Hartel  lately  in- 
formed me  that  they  would  purchase  every  work  I 
chose  to  publish,  and  also  a future  edition  of  my  col- 
lected works  (does  not  that  sound  very  grand  ?),  and 
mention  that  they  have  been  very  much  annoyed  by  an 
announcement  of  another  publisher.  So  you  see  pos- 
sibly I may  oblige  these  people  ! Besides  this,  I have 
had  six  applications  for  my  music  from  other  pub- 
lishers in  various  places.  This  savours  rather  of  re- 
nommage  ; but  I know  you  like  to  read  of  such  things, 
and  will  forgive  me  for  it. 


To  Fanny  Hensel,  Berlin. 


Dusseldorf,  November  14th,  1834. 

My  dear  Fanny, 

May  every  happiness  attend  you  on  this  day,  and  in 
the  year  about  to  commence,  and  may  you  love  me  as 
well  as  ever.  I should  like  this  year  also  to  have  sent 
you  some  piece  or  other,  underneath  which  I could  have 
written  November  14th ; but  the  weeks  of  the  life  of 
an  Intendant”  have  swallowed  up  everything,  and  I am 
only  slowly  becoming  myself  again.  A few  days  ago 
I sketched  the  overture  of  St.  Paul,”  and  thought  I 
should  at  least  contrive  to  get  it  finished ; but  it  is  still 


5 


MENDELSSOHNS  LETTERS. 


bV 

a long’  way  behind.  If  we  could  only  be  together  now, 
in  the  evening,  at  all  events;  for  when  candles  are 
lighted  I feel  a much  greater  longing  to  be  at  home 
than  in  the  morning ; and  now  here  are  candles,  and 
the  days  from  November  11th  and  December  11th,  up 
to  Christmas  and  the  New  Year,*  are  certainly  not  the 
best  to  be  far  from  home,  even  if  the  evenings  were 
not  so  long.  But  we  must  be  very  busy,  and  next 
summer  set  off  on  our  travels  again,  and  visit  each 
other.  My  wish  at  this  moment-  is,  that  the  time  were 
come ! 

I wonder  what  you  are  doing  this  evening  ? Music 
and  society?  or  the  Government  newspaper  read 
aloud  ? (in  which,  I am  told,  Henzel’s  school  is  much 
extolled,  and  considered  in  many  respects  preferable 
to  ours  here !) 

But,  my  birthday  child  I we  are  not  likely  to  agree 
on  this  occasion  in  our  opinions  about  pictures ; for  one 
of  the  most  repugnant  to  my  feelings  that  I ever  saw 
was  that  of  S . When  a work  of  art  aspires  to  re- 

present factitious  misery,  like  the  famine  in  the  wilder- 
ness, I take  no  interest  in  it,  if  ever  so  well  painted, — 
which  this  is  not.  The  whole  thing  seems  to  me 
nothing  b^t  a variation  on  Lessing’s  Royal  Pair,” 
only  this  time  with  dead  horses.  The  tone  of  art  in  it 
is  very  commonplace,  and  even  if  decked  out  twenty 
times  over  with  bright  colours,  that  does  not  make  it 
better  I I don’t  at  all  approve,  either,  of  your  taking 
the  opportunity  of  hearing  Lafont  to  speak  of  the  re- 
volution in  the  violin  since  Paganini,  for  I don’t  admit 


* A number  of  birthdays  occurred  at  this  particular  period  in  the 
family. 


LAFONT  AND  PAGANINI. 


61 


that  any  such  thing  exists  in  art,  but  only  in  people 
themselves;  and  I think  that  very  same  style  would 
have  displeased  you  in  Lafont,  if  you  had  heard  him 
before  Paganini’s  appearance,  so  you  must  not,  on  the 
other  hand,  do  less  justice  to  his  good  qualities  after 
hearing  the  other.  I was  lately  shown  a couple  of  new 
French  musical  papers,  where  they  allude  incessantly 
to  a revolution  du  gout  and  a musical  transition,  which 
has  been  taking  place  for  some  years  past,  in  which  1 
am  supposed  to  play  a fine  part ; this  is  the  sort  of  thing 
I do  detest.  Then  I think  that  I must  be  industrious, 
and  work  hard,  “ above  all,  hate  no  man,  and  leave  the 
future  to  God,” — finish  the  oratorio  completely  by 
March,  compose  a new  A minor  symphony  and  a 
pianoforte  concerto,  and  then  set  off  again  on  my 
travels  and  visit  No.  3,  Leipziger  Strasse.  My  second 
concert  took  place  yesterday,  and  afterwards  a fashion- 
able soiree^  with  no  end  of  Excellencies  and  fine  titles. 
The  day  afcer  to-morrow  I am  again  to  conduct  “ Obe- 
ron,”  and  shall  drive  on  the  orchestra  full  cry,  hke  an 
evil  spirit.  I have  fallen  into  a very  splenetic  tone,  by 
no  means  in  keeping  with  a birthday  tone,  but  I now 
resume  the  latter,  and  wish  you  all  possible  good  for- 
tune ; and  may  1835  prove  a happy  year  to  you,  and 
may  you,  and  all  at  home,  thoroughly  enjoy  the  day. — 
Your 


Felix. 


52 


Mendelssohn’s  letters. 


To  Kebecoa  Diriohlet,  Berlin. 

Diisseldorf,  November  23d,  1834. 

My  dear,  dear  Eebecca, 

Can  I still  expect  you  to  read  anything  that  I write  ? 
I have  been  remiss,  very  remiss,  in  fact  behaved 
shamefully,  and  I heartily  wish  it  were  not  so ; but  I 
can’t  help  it  now  I Would  that  I had  an  opportunity 
to  make  up  for  it ; but  unluckily  this  is  not  the  case  ; I 
can  therefore  only  say  that  I hope  I am  still  in  your  good 
graces,  and  that  I was  very  foolish.  I ought  indeed  to 
have  said  this  to  you  long  since,  but  I could  not,  for  I 
was  resolved  to  write  you  a long  confidential  letter 
the  first  day  I could  find  leisure,  and  this  is  the  very 
first  leisure  day.  ISTow  that  it  is  getting  dark,  and  the 
shutters  closed,  and  lights  brought  in  at  five  o’clock,  I 
thought  that  I must  write  to  you,  and,  as  it  were,  puU 
your  door-bell  and  ask  if  you  are  at  home.  Do  look 
kindly  on  me. 

How  things  have  been  going  on  with  me  for  some 
time  past  it  would  not  be  easy  to  say,  all  has  been 
so  detestable.  But  you  really  must  listen  to  a little 
grumbhng  from  me,  that  you  may  never  take  it  into 
your  head  to  become  director  of  a theatre,  nor  to  per- 
mit any  one  belonging  to  you  to  accept  the  office  of 
an  intendant.  Immediately  on  my  return  here*  the 
Intendant  breezes  were  wafted  towards  me.  In  the 
statute  it  is  set  forth : — The  intendancy  is  to  consist  of 
an  intendant  and  a music  director.  The  Intendant  pro- 

* Mendelssohn  had  made  an  expedition  through  part  of  Germany 
for  the  benefit  of  the  theatre,  in  order  to  engage  singers. 


QUARRELS  WITH  IMMERMANN. 


53 


posed  that  I should  be  the  musical  intendant,  and  he  the 
theatrical  intendant.  Then  the  question  arose,  which 
was  to  take  precedence  of  the  other : so  here  was  forth- 
with a fine  piece  of  work.  I wished  to  do  nothing  but 
conduct  and  direct  the  musical  studies,  but  this  was  not 
enough  for  Immermann.  We  exchanged  desperately  un- 
civil letters,  in  which  I was  obliged  to  be  very  circum- 
spect in  my  style,  in  order  to  leave  no  point  unanswer- 
ed, and  to  maintain  my  independent  ground  and  basis ; 
but  I think  I did  credit  to  Herr  Heyse.*  We  came  to 
an  agreement  after  this,  but  quarrelled  again  imme- 
diately, for  he  required  me  to  go  to  Aix,  to  hear  and  to 
engage  a singer  there,  and  this  I did  not  choose  to  do. 
Then  I was  desired  to  engage  an  orchestra, — that  is, 
prepare  two  contracts  for  each  member,  and  previously 
fight  to  the  death  about  a dollar  more  or  less  of  their 
monthly  salary ; then  they  went  away,  then  they  came 
back  and  signed  all  the  same,  then  they  all  objected  to 
sit  at  the  second  music  desk,  then  came  the  aunt  of  a 
very  wretched  performer,  whom  I could  not  engage, 
and  the  wife  and  two  little  children  of  another  misera- 
ble musician,  to  intercede  with  the  Director ; then  I 
allowed  three  fellows  to  play  on  trial,  and  they  played 
so  utterly  beneath  contempt  that  I really  could  not 
agree  to  take  any  of  them;  then  they  looked  very 
humble,  and  went  quietly  away,  very  miserable,  having 
lost  their  daily  bread;  then  came  the  wife  again,  and 
wept.  Out  of  thirty  persons  there  was  only  one  who 
said  at  once,  I am  satisfied,”  and  signed  his  con- 
tract; all  the  others  bargained  and  haggled  for  an  hour 


♦ Professor  Heyse,  Mendelssohn’s  teacher. 

5* 


54 


MENDELSSOHN'S  LETTERS. 


at  least,  before  I could  make  them  understand  that  I 
had  a prix  fixe.  The  whole  day  I was  reminded  of 
my  father’s  proverb,  “Asking  and  bidding  make  the 
sale;”  but  they  were  four  of  the  most  disagreeable 
days  I ever  passed.  On  the  fourth,  Klingemann  ar- 
rived in  the  morning,  saw  the  state  of  things,  and  was 
horrified.  In  the  mean  time  Eietz  studied  the  “ Tem- 
plar,” morning  and  evening ; the  choruses  got  drunk, 
and  I was  forced  to  speak  with  authority ; then  they 
rebelled  against  the  manager,  and  I was  obliged  to 
shout  at  them  like  the  Boots  at  an  inn ; then  Madame 
Beutler  became  hoarse,  and  I was  very  anxious  on  her 
account  (a  new  sort  of  anxiety  for  me,  and  a most 
odious  one)  ; then  I conducted  Cherubini’s  “ Eequiem” 
in  the  church,  and  this  was  followed  by  the  first  con- 
cert. In  short,  I made  up  my  mind  to  abdicate  my  In- 
tendant  throne  three  weeks  after  the  reopening  of  the 
theatre.  The  affair  goes  on  quite  as  well  as  we  could 
expect  in  Diisseldorf : Eietz’s  playing  is  admirable, — 
he  is  studious,  accurate,  and  artistic,  so  that  he  is 
praised  and  hked  by  every  one.  The  operas  we  have 
hitherto  given  are,  the  “ Templar  ” twice,  “ Oberon  ” 
twice,  which  I conducted,  “ Fra  Diavolo,”  and  yester- 
day the  “ Freischiitz.”  We  are  about  to  perform  the 
“ Entfuhrung,”  the  “ Zauberflote,  ” the  “ Ochsen- 
menuett,”  the  “ Dorf  Barbier,”  and  the  “ Wassertra- 
ger.”  The  operas  are  well  attended,  but  not  the  plays, 
so  that  the  shareholders  are  sometimes  rather  uneasy ; 
fi^  e of  the  company  up  to  this  time  have  actually  run 
away,  two  of  them  being  members  of  the  orchestra. 

The  Committee  gave  a supper  to  the  company, 
which  was  very  dull,  and  cost  each  member  of  the 


THE  VOCAL  ASSOCIATION. 


65 


Council  (including  myself)  eleven  dollars;  but  pray 
refrain  from  all  tokens  of  sympathy,  in  case  of  causing 
iny  tears  to  flow  afresh.  But  since  I have  with- 
drawn from  this  sphere,  I feel  as  if  I were  a fish 
thrown  back  into  the  water ; my  forenoons  are 
once  more  at  my  own  disposal,  and  in  the  even- 
ings I can  sit  at  home  and  read.  The  oratorio 
daily  causes  me  more  satisfaction,  and  I have  also 
composed  some  new  songs;  the  Yocal  Association 
gets  on  well,  and  we  intend  shortly  to  give  the  “ Sea- 
sons,” with  a full  orchestra.  I mean  soon  to  publish 
six  preludes  and  fugues,  two  of  which  you  have  already 
seen ; this  is  the  sort  of  life  I like  to  lead,  but  not  that 
of  an  intendant.  How  vexatious  it  is,  that  at  the  close 
of  such  well-spent  days  we  cannot  all  assemble  toge- 
ther to  enjoy  each  other’s  society  I* 


* The  mode,  however,  in  which  Mendelssohn  treated  this  affair  of 
the  theatre  was  by  no  means  approved  of  by  his  father ; on  the  con- 
trary, some  time  afterwards  he  wrote  to  him  as  follows : — 

“ I must  once  more  resume  the  subject  of  the  dramatic  career,  as  I 
feel  very  anxious  about  it  on  your  account.  You  have  not,  according 
to  my  judgment,  either  in  a productive  or  administrative  point  of  view, 
had  sufficient  experience  to  decide  with  certainty  that  your  disinclina- 
tion towards  it  proceeds  from  anything  innate  in  your  talents  or  cha- 
racter. I know  no  dramatic  composer,  except  Beethoven,  who  has  not 
written  a number  of  operas,  now  totally  forgotten,  before  attaining  the 
right  object  at  the  right  moment,  and  gaining  a place  for  himself.  You 
have  only  made  one  public  effort,  which  was  partly  frustrated  by  the 
text,  and,  in  fact,  was  neither  very  successful  nor  the  reverse.  Subse- 
quently you  were  too  fastidious  about  the  words,  and  did  not  succeed  in 
finding  the  right  man,  and  perhaps  did  not  seek  him  in  a right  manner; 
I cannot  but  think  that  by  more  diligent  inquiries  and  more  moderate 
pretensions  you  would  at  length  attain  your  object.  With  regard  tc 
the  administrative  career,  however,  it  gives  rise  to  another  series  of 
rellections  which  I wish  to  impress  on  you.  Those  who  have  the  opi)or- 
tunity  and  the  inclination  to  become  more  closely  and  intimately  ac- 


56 


MENDELSSOHN^S  LETTERS. 


I inclose  my  translation  of  “Alexander's  Feast;” 
you  must  read  it  aloud  to  the  family  in  the  evening, 

qiiainted  with  you,  as  well  as  all  those  to  whom  you  have  the  oppor- 
tunity and  the  inclination  to  reveal  yourself  more  fully,  cannot  fail  to 
love  and  respect  you.  But  this  is  really  far  from  being  suificient  to 
enable  a man  to  enter  on  life  with  active  efficacy ; on  the  contrary, 
when  you  advance  in  years,  and  opportunity  and  inclination  fail,  both 
in  others  and  yourself,  it  is  much  more  likely  to  lead  to  isolation  and 
misanthropy.  Even  what  we  consider  faults  will  be  respected,  or  at 
least  treated  with  forbearance,  when  once  firmly  and  thoroughly  esta- 
blished in  the  world,  while  the  individual  himself  disappears.  He  has 
least  of  all  arrived  at  the  ideal  of  virtue  who  exacts  it  most  inexorably 
from  others.  The  most  stern  moral  principle  is  a citadel,  with  outworks, 
in  defence  of  which  we  are  unwilling  to  expend  our  strength,  in  order 
to  maintain  ourselves  with  greater  certainty  in  our  stronghold,  which 
indeed  ought  only  to  be  surrendered  with  life  itself.  Hitherto  it  is 
undeniable  that  you  have  never  been  able  to  divest  yourself  of  a ten- 
dency to  austerity  and  irascibility,  to  suddenly  grasping  an  object  and 
as  suddenly  relinquishing  it,  and  thus  creating  for  yourself  many 
obstacles  in  a practical  point  of  view.  For  example,  I must  confess 
that,  though  I approved  of  your  withdrawing  from  any  active  partici- 
pation in  the  management  of  details  in  the  Htisseldorf  theatre,  I by  no 
means  did  so  of  the  manner  in  which  you  accomplished  your  object,  as 
you  undertook  it  voluntarily,  and,  to  speak  candidly,  rather  heedlessly. 
From  the  beginning  you,  most  wisely,  declined  any  positive  compact, 
but  only  agreed  to  undertake  the  studying  and  conducting  of  particu- 
lar operas,  and,  in  accordance  with  this  resolution,  very  properly  insist- 
ed on  another  music  director  being  appointed.  When  you  came  here 
some  time  ago  with  the  commission  to  engage  Krethi  and  Plethi,  I did 
not  at  all  like  the  idea;  I thought,  however,  that,  as  you  were  coming 
here  at  all  events,  you  could  not  through  politeness  decline  this  service. 
But  on  your  return  to  Dusseldorf,  after  wisely  refusing  to  undertake 
another  journey  for  the  purpose  of  making  engagements  for  the  thea- 
tre, instead  of  persevering  in  your  duties  in  this  sense,  and  getting  rid 
of  all  odiosa^  you  allowed  yourself  to  be  overwhelmed  by  them ; and 
as  they  naturally  became  most  obnoxious  to  you,  instead  of  quietly 
striving  to  remedy  them,  and  thus  generally  to  get  rid  of  them,  you  at 
one  leap  extricated  yourself,  and  by  so  doing  you  undeniably  subjected 
yourself  to  the  imputation  of  fickleness  and  unsteadiness,  and  made  a 
decided  enemy  of  a man  whom  at  all  events  policy  should  have  taught 


TRANSLATION  OF  BYRON. 


57 


and  in  various  passages  v^here  the  rhymes  are  rugged 
or  deficient,  if  you  Tvill  let  me  have  your  amendments 
I shall  be  grateful.  One  stipulation,  however,  I must 
make,  that  Kamler,  or  rather,  I should  say,  the  English 
text,  should  not  be  sacrificed.  Apropos^  since  then  I 
have  once  more  mounted  Pegasus,  and  translated  Lord 
Byron’s  poem,  the  first  strophe  of  which,  by  Theremin, 
is  incomprehensible,  and  the  second  false.  I find,  how- 
ever, that  my  lines  halt  a little  ; perhaps,  some  evening, 
you  may  discover  something  better. 


Schlafloser  Augensonne,  heller  Stern  ! 

Der  dll  mit  thranenvollem  Schein,  unendlich  fern, 
Das  Dnnkel  nicht  erhellst,  nur  besser  zeigst, 

O wie  du  ganz  des  Glucks  Erinn’rnng  gleichst  I 
So  funkelt  langst  vergangner  Freuden  Licht, 

Es  scheint,  doch  warmt  sein  matter  Schimraer  nicht, 
Der  wache  Gram  ersiiaht  die  Nachtgestalt, 

Hell,  aber  fern,  klar — aber  ach  1 wie  kalt  1 


The  poem  is  very  sentimental,  and  I think  I should 
have  set  it  to  music  repeatedly  in  Gr  sharp  minor  or  B 
major  (but,  at  all  events,  with  no  end  of  sharps),  had  it 
not  occurred  to  me  that  the  music  of  Lowe  pleases  you 
and  Eanny ; so  this  prevents  my  doing  so,  and  there  is 
an  end  of  it,  and  my  letter  also.  Adieu,  love  me  as 
ever. — Your 

Felix. 


you  not  to  displease,  and  most  probably  offended  and  lost  the  friendli- 
ness of  many  members  of  the  Comite  also,  among  whom  there  are,  no 
doubt,  most  respectable  people.  If  I view  this  matter  incorrectly 
then  teach  me  a better  mode  of  judging.” 

This  letter  will  show  what  an  impartial  and  incorruptible  judg« 
Mendelssohn  possessed  in  his  father. 


58 


Mendelssohn’s  letters. 


To  Carl  Klingemann,  London. 

Diisseldorf,  December  16th,  1834. 

...  So  now  in  these  lines  you  have  read  my  whole 
life  and  occupations  since  I came  here ; for  that  I am 
well  and  happy,  and  often  think  of  you,  is  included  in 
them,  and  that  I am  also  diligent  and  working  hard  at 
many  things,  is  the  natural  result.  I really  believe  that 
Jean  Paul,  whom  I am  at  this  moment  reading  with  in- 
tense delight,  has  also  some  influence  in  the  matter,  for 
he  invariably  infects  me  for  at  least  half  a year  with  his 
strange  peculiarities.  I have  been  reading  ^ Fixlein’ 
again ; but  my  greatest  pleasure  in  doing  so,  is  the  re- 
membrance of  the  time  when  I first  became  acquainted 
with  it,  by  your  reading  it  aloud  to  me  beside  my  sick- 
bed, when  it  did  me  so  much  good.  I also  began  ‘ Sie- 
benkas’  again,  for  the  first  time  for  some  years,  and  have 
read  from  the  close  of  the  prologue  to  the  end  of  the 
first  part,  and  am  quite  enchanted  with  this  noble  work. 
The  prologue  itself  is  a masterpiece  such  as  no  one  else 
could  write,  and  so  it  is  with  the  whole  book,  the 
friends,  and  the  school-inspector,  and  Lenette.  It  re- 
vives my  love  for  my  country,  and  makes  me  feel  proud 
of  being  a G-erman,  although  in  these  days  they  all 
abuse  each  other.  Yet  such  people  do  sometimes  rise 
to  the  surface,  and  I do  believe  that  no  country  can 
boast  of  such  a sterling  fellow  as  this. 


REFORMATION  AND  REVOLUTION. 


59 


To  Rebecca  Diriohlet,  Berlin. 

Diisseldorf,  December  23d,  1834. 

Dear  Rebecca, 

Why  should  we  not,  like  established  correspondents, 
exchange  repeated  letters  on  any  particular  subject 
about  which  we  differ  ? I on  my  part  will  represent  a 
methodical  correspondent,  and  must  absolutely  resume 
the  question  of  revolution.  This  is  chiefly  for  Fanny’s 
benefit;  but  are  not  you  identical?  Can  you  not, 
therefore,  discuss  the  subject  together,  and  answer  me 
together,  if  you  choose  ? And  have  I not  pondered 
and  brooded  much  over  this  theme  since  I got  your 
letter,  which  now  prompts  me  to  write  ? You  must, 
however,  answer  me  in  due  form,  till  not  one  jot  or 
tittle  more  remains  to  be  said  in  favour  of  revolution. 
Observe,  I think  that  there  is  a vast  distinction  between 
reformation  or  reforming,  and  revolution,  etc.  Re- 
formation is  that  which  I desire  to  see  in  all  things,  in 
life  and  in  art,  in  politics  and  in  street-pavement,  and 
Heaven  knows  in  what  else  besides.  Reformation  is 
entirely  negative  against  abuses,  and  only  removes 
what  obstructs  the  path ; but  a revolution,  by  means 
of  which  all  that  was  formerly  good  (and  really  good) 
is  no  longer  to  continue,  is  to  me  the  most  intolerable 
of  all  things,  and  is,  in  fact,  only  a fashion.  Therefore, 
I would  not  for  a moment  listen  to  Fanny,  when  she 
said  that  Lafont’s  playing  could  inspire  no  further  in- 
terest since  the  revolution  effected  by  Paganini ; for  if 
his  playing  ever  had  the  power  to  interest  me,  it  would 
still  do  so,  even  if  in  the  mean  time  I had  heard  the 
Angel  Gabriel  on  the  violin.  It  is  just  this,  however, 


60 


Mendelssohn’s  letters. 


that  those  Frenchmen  I alluded  to  can  form  no  concep- 
tion of;  that  what  is  good,  however  old,  remains  al- 
ways new,  even  although  the  present  must  differ  from 
the  past,  because  it  emanates  from  other  and  dissimilar 
men.  Inwardly  they  are  only  ordinary  men  like  the 
former,  and  have  only  outwardly  learned  that  some- 
thing new  must  come;  so  they  strive  to  accomplish 
this,  and  if  they  are  even  moderately  applauded  or 
flattered  they  instantly  declare  that  they  have  effected 
a revolution  du  gout.  This  is  why  I behave  so  badly 
when  they  do  me  the  honour  (as  you  call  it)  to  rank 
me  among  the  leaders  of  this  movement,  when  I well 
know  that,  for  thorough  self-cultivation,  the  whole  of 
a man’s  life  is  required  (and  often  does  not  suffice) ; 
and  also  because  no  Frenchman,  and  no  newspaper, 
knows  or  ever  can  know  what  the  future  is  to  give  or 
to  bring;  and,  in  order  to  guide  the  movements  of 
others,  we  must  first  be  in  motion  ourselves,  while  such 
reflections  cause  us  to  look  back  on  the  past,  not  for- 
ward. Progress  is  made  by  work  alone,  and  not  by 
talking,  which  those  people  do  not  believe. 

But,  for  Heaven’s  sake,  don’t  suppose  that  I wish  to 
disown  either  reformation  or  progress,  for  I hope  one 
day  myself  to  effect  a reform  in  music ; and  this,  as  you 
may  see,  is  because  I am  simply  a musician,  and  I wish 
to  be  nothing  more.  How  answer  me,  I beg,  and 
preach  to  me  again. 

To-day  I have  completed  and  transcribed  an  entire 
chorus  for  “ St.  Paul.”  I may  as  well  at  once  reply 
here  to  a letter  I received  this  morning,  dictated  by  my 
father  to  Fanny,  and  to  which  my  mother  added  a 
postscript.  First  of  all,  I thank  you  for  writing,  and 


PROGRESS  OF  “ ST.  PAUL. 


61 


then,  dear  Father,  I would  entreat  of  you  not  to  with- 
hold from  me  your  valuable  advice,  for  it  is  always 
clear  gain  to  me ; and  if  I cannot  rectify  the  old  faults, 
I can  at  least  avoid  committing  new  ones.  The  non- 
appearance  of  St.  Paul  at  the  stoning  of  Stephen  is 
certainly  a blemish,  and  I could  easily  alter  the  passage 
in  itself;  but  I could  find  absolutely  no  mode  of  in- 
troducing him  at  that  time,  and  no  words  for  him  to 
utter  in  accordance  with  the  Scriptural  narrative; 
therefore  it  seemed  to  me  more  expedient  to  follow  the 
Bible  account,  and  to  make  Stephen  appear  alone.  I 
think,  however,  that  your  other  censure  is  obviated  by 
the  music;  for  the  recitative  of  Stephen,  though  the 
words  are  long,  will  not  occupy  more  than  two  or 
three  minutes,  or — including  all  the  choruses — till  his 
death,  about  a quarter  of  an  hour;  whereas  subsequent- 
ly, at  and  after  the  conversion,  the  music  becomes  more 
and  more  dijQfuse,  though  the  words  are  fewer. 


To  Pastor  Bauer,  Beszig. 

Dusseldorf,  January  12th,  1835. 

[About  a proposal  as  to  some  words  for  sacred  music.^ 

. . . What  I do  not  understand  is  the  purport — 
musical,  dramatic,  or  oratorical,  or  whatever  you  choose 
to  call  it — that  you  have  in  view.  What  you  mention 
on  the  subject — the  time  before  John,  and  then  John 
himself,  till  the  appearance  of  Christ — is  to  my  mind 
equally  conveyed  in  the  word  ^Advent,’  or  the  birth  of 
Christ.  You  are  aware,  however,  that  the  music  must 
6 


62 


Mendelssohn’s  letters. 


represent  one  particular  moment,  or  a succession  of 
moments ; and  how  you  intend  this  to  be  done  you  do 
not  say.  Actual  church  music — that  is,  music  during 
the  Evangelical  Church  service,  which  could  be  intro- 
duced properly  while  the  service  was  being  celebrated — 
seems  to  me  impossible ; and  this,  not  merely  because 
I cannot  at  all  see  into  which  part  of  the  public  wor- 
ship this  music  can  be  introduced,  but  because  I can- 
not discover  that  any  such  part  exists.  Perhaps  you 
have  something  to  say  which  may  enlighten  me  on  the 
subject.  . . . But  even  without  any  reference  to  the 
Prussian  Liturgy,  which  at  once  cuts  off  everything  of 
the  kind,  and  will  neither  remain  as  it  is  nor  go  further, 
I do  not  see  how  it  is  to  be  managed  that  music  in  our 
Church  should  form  an  integral  part  of  public  worship, 
and  not  become  a mere  concert,  conducive  more  or  less 
to  piety.  This  was  the  case  with  Bach’s  “Passion;” 
it  was  sung  in  church  as  an  independent  piece  of  music, 
for  edification.  As  for  actual  church  music,  or,  if  you 
like  to  call  it  so,  music  for  public  worship,  I know  none 
but  the  old  Italian  compositions  for  the  Papal  Chapel, 
where,  however,  the  music  is  a mere  accompaniment, 
subordinate  to  the  sacred  functions,  co-operating  with 
the  wax  candles  and  the  incense,  etc.  If  it  be  this 
style  of  church  music  that  you  really  mean,  then,  as  I 
said,  I cannot  discover  the  connecting  link  which  would 
render  it  possible  to  employ  it.  For  an  oratorio,  one 
principal  subject  must  be  adopted,  or  the  progressive 
history  of  particular  persons,  otherwise  the  object 
would  not  be  sufficiently  defined ; for  if  all  is  to  be  only 
contemplative  with  reference  to  the  coming  of  Christ, 
then  this  theme  has  already  been  more  grandly  and 


CHURCH  MUSIC. 


63 


beautifully  treated  in  Handel’s  Messiah,”  where  he 
begins  with  Isaiah,  and,  taking  the  Birth  as  a central 
point,  closes  with  the  Kesurrection. 

When  you,  however,  say  our  poor  Church,”  I must 
teU  you  what  is  very  strange ; I have  found,  to  my 
astonishment,  that  the  Catholics,  who  have  had  music 
in  their  churches  for  several  centuries,  and  sing  a musi- 
cal Mass  every  Sunday  if  possible,  in  their  principal 
churches,  do  not  to  this  day  possess  one  which  can  be 
considered  even  tolerably  good,  or  in  fact  which  is  not 
actually  distasteM  and  operatic.  This  is  the  case  from 
Pergolese  and  Durante,  who  introduce  the  most  laugh- 
able little  trills  into  their  “ Gloria,”  down  to  the  opera 
finales  of  the  present  day.  Were  I a Catholic,  I would 
set  to  work  at  a Mass  this  very  evening ; and,  what- 
ever it  might  turn  out,  it  would  at  all  events  be  the 
only  Mass  written  with  a constant  remembrance  of  its 
sacred  purpose.  But  for  the  present  I don’t  mean  to 
do  this ; perhaps  at  some  future  day,  when  I am  older. 


To  Herr  Conrad  Schleinitz,  Leipzig. 

Dusseldorf,  January  26th,  1835. 

Sir, 

Pray  receive  my  thanks  for  your  kind  letter,  and  the 
friendly  disposition  which  it  evinces  towards  myself 
You  may  well  imagine  that  it  would  be  a source  of  in- 
finite pleasure  to  me  to  find  in  your  city  the  extensive 
sphere  of  action  you  describe,  as  my  sole  wish  is  to 
advance  the  cause  of  music  on  that  path  which  I con- 


64 


Mendelssohn’s  letthhs. 


sider  the  right  one ; I would  therefore  gladly  comply 
with  a summons  which  furnished  me  with  the  means 
of  doing  so.  I should  not  hke,  however,  by  such  ac- 
ceptance to  injure  any  one,  and  I do  not  wish,  by  as- 
suming this  office,  to  be  the  cause  of  supplanting  my 
predecessor.  In  the  first  place,  I consider  this  to  be 
wrong;  and,  moreover,  great  harm  ensues  to  music 
from  such  contentions.  Before,  then,  giving  a decided 
answer  to  your  proposal,  I must  beg  you  to  solve  some 
doubts : — namely,  at  whose  disposal  is  the  appointment 
you  describe  ? with  whom  should  I be  in  connection, — 
with  a society,  or  individuals,  or  a Board  ? and  should 
I by  my  acceptance  injure  any  other  musician?  I 
hope  you  will  answer  this  last  question  with  perfect 
candour,  imagining  yourself  in  my  place ; for,  as  I pre- 
viously said,  I have  no  wish  to  deprive  any  one,  either 
directly  or  indirectly,  of  his  situation. 

Further,  it  is  not  quite  clear  to  me,  from  your  letter, 
how  the  direction  of  an  academy  for  singing  can  be 
combined  with  my  six  months’  summer  vacation ; for 
you  must  be  well  aware  how  indispensable  continual 
supervision  is  to  such  an  institution,  and  that  anything 
which  can  be  accomplished  in  one  half-year  may  be 
easily  forgotten  in  the  next ; or  is  there  another  direc- 
tor for  the  purpose  of  undertaking  the  duties  instead 
of  me  ? Finally,  I must  also  confess  that,  in  a pecu- 
niary point  of  view,  I do  not  wish  to  accept  any  posi- 
tion that  would  be  less  profitable  than  my  present  one ; 
but,  as  you  mention  a benefit  concert,  no  doubt  this  is 
a matter  that  might  be  satisfactorily  arranged,  and  we 
should  have  no  difficulty  in  coming  to  an  agreement  on 
this  point. 


MUSTOAL  COMPETITION. 


65 


I have  been  quite  candid  with  you,  and  hope,  in  any 
event,  you  will  not  take  it  amiss ; be  so  good  as  to 
oblige  me  by  sending  an  answer  as  soon  as  possible, 
and  to  believe  that  I shall  ever  be  grateful  to  you  for 
your  kind  letter,  as  well  as  for  the  honour  you  have 
done  me. 


To  Capellmeister  Spohr,  Cassel. 

Diisseldorf,  March  8th,  1835, 

Eespected  Capellmeister, 

I thank  you  much  for  your  friendly  communication. 
The  intelligence  from  Vienna  was  most  interesting  to 
me;  I had  heard  nothing  of  it.  It  strongly  revived 
my  feeling  as  to  the  utter  impossibility  of  my  ever 
composing  anything  with  a view  to  competing  for  a 
prize.  I should  never  be  able  to  make  even  a begin- 
ning ; and  if  I were  obliged  to  undergo  an  examina- 
tion as  a musician,  I am  convinced  that  I should  be  at 
once  sent  back,  for  I should  not  have  done  half  as  well 
as  I could.  The  thoughts  of  a prize,  or  an  award, 
would  distract  my  thoughts ; and  yet  I cannot  rise  so 
superior  to  this  feeling  as  entirely  to  forget  it.  But  if 
you  find  that  you  are  in  a mood  for  such  a thing,  you 
should  not  fail  to  compose  a symphony  by  that  time, 
and  to  send  it,  for  I know  no  man  living  who  could 
dispute  the  prize  with  you  (this  is  the  second  reason), 
and  then  we  should  get  another  symphony  of  yours 
(first  reason).  With  regard  to  the  members  of  the 
Judicial  Committee  in  Vienna,  I have  my  own  thoughts, 
which,  however,  are  not  very  legitimate,  but,  on  the 
6* 


66 


Mendelssohn’s  letters. 


contrary,  somewhat  rebellious.  Were  I one  of  the 
judges,  not  a single  member  of  the  Comite  should  ob- 
tain a prize,  if  they  competed  for  one. 

You  wish  me  to  write  to  you  on  the  subject  of  my 
works,  and  I cordially  thank  you  for  asking  about  them. 
I began  an  oratorio  about  a year  ago,  which  I expect  to 
finish  next  month,  the  subject  of  which  is  St.  Paul. 
Some  friends  have  compiled  the  words  for  me  from  the 
Bible,  and  I think  that  both  the  subject  and  the  compi- 
lation are  well  adapted  to  music,  and  very  solemn, — if 
the  music  only  prove  as  good  as  I wish ; at  all  events, 
I have  enjoyed  the  most  intense  delight  while  engaged 
in  writing  it.  I also  composed  some  time  since,  a new 
overture  to  the  “ Lovely  Melusina.”  and  have  another 
in  my  head  at  this  moment.  How  gladly  would  I 
write  an  opera ! but  far  and  near  I can  find  no  libretto 
and  no  poet.  Those  who  have  the  genius  of  poetry 
cannot  bear  music,  or  know  nothing  of  the  theatre ; 
others  are  neither  acquainted  with  poetry  nor  with  man- 
kind, only  with  the  boards,  and  lamps,  and  side  scenes, 
and  canvas.  So  I never  succeed  in  finding  the  opera 
which  I have  so  eagerly,  yet  vainly  striven  to  procure. 
Each  day  I regret  this  more  ; but  I hope  at  last  to  meet 
with  the  man  I wish  for  this  purpose.  I have  also 
written  a good  deal  of  instrumental  music  of  late, 
chiefly  for  the  piano,  but  others  besides ; perhaps  you 
will  permit  me  to  send  you  some  of  these  as  soon  as  I 
have  an  opportunity  to  do  so.  I am,  with  the  highest 
esteem  and  consideration,  your  devoted 

Felix  Mendelssohn  Bartholdy. 


FIGURED  CHORALES. 


67 


To  Felix  Mendelssohn  Bartholdy, 

FROM  his  Father.* 

Berlin,  March  lOtb,  1835. 

This  is  the  third  letter  I have  written  to  you  this 
week,  and,  if  this  goes  on,  reading  my  letters  will  be- 
come a standing  article  in  the  distribution  of  the  budget 
of  your  time ; but  you  must  blame  yourself  for  this, 
as  you  spoil  me  by  your  praise.  I at  once  pass  to  the 
musical  portion  of  your  last  letter. 

Your  aphorism,  that  every  room  in  which  Sebastian 
Bach  is  sung  is  transformed  into  a church,  I consider 
peculiarly  appropriate  ; and  when  I once  heard  the  last 
movement  of  the  piece  in  question,  it  made  a similar 
impression  on  myself ; but  I own  I cannot  overcome 
my  dishke  to  figured  chorales  in  general,  because  I can- 
not understand  the  fundamental  idea  on  which  they  are 
based,  especially  where  the  contending  parts  are  main- 
tained in  an  equal  balance  of  power.  For  example,  in 
the  first  chorus  of  the ‘^Passion,” — where  the  chorale 
forms  only  a more  important  and  consistent  part  of  the 
basis ; or  where,  as  in  the  above-mentioned  movement 
of  the  cantata  (if  I remember  it  rightly,  having  only 
heard  it  once),  the  chorale  represents  the  principal 
building,  and  the  individual  parts  only  the  decorations, 
— I can  better  comprehend  the  purpose  and  the  concep- 
tion ; but  not  so  certainly  where  the  figure,  in  a certain 

* The  following  letter  from  Mehdelssohn’s  father  will  certainly  not 
be  read  without  interest,  as  it  throws  so  clear  a light  on  the  intellectual 
relations  between  father  and  son  ; a place  may  therefore  be  appropri- 
ately found  for  it  here.  It  has  been  selected  from  a large  collection  of 
letters  of  a similar  tendency. 


68 


MENDELSSOHNS  LETTERS. 


manner,  carries  out  variations  on  the  theme.  ITo 
liberties  ought  ever  assuredly  to  be  taken  with  a cho- 
rale. Its  highest  purpose  is,  that  the  congregation 
should  sing  it  in  all  its  purity  to  the  accompaniment  of 
the  organ  ; all  else  seems  to  me  idle  and  inappropriate 
for  a church. 

At  Fanny’s  last  morning’s  music  the  motett  of  Bach, 
“ Grottes  Zeit  ist  die  allerbeste  Zeit,”  and  your  Ave 
Maria,”  were  sung  by  select  voices.  A long  passage  in 
the  middle  of  the  latter,  as  well  as  the  .end  also,  appear- 
ed to  me  too  learned  and  intricate  to  accord  with  the 
simple  piety,  and  certainly  genuine  catholic  spirit, 
which  pervades  the  rest  of  the  music.  . Eebecca  re- 
marked that  there  was  some  confusion  in  the  execution 
of  those  very  passages  which  I considered  too  intricate  ; 
but  this  only  proves  that  I am  an  ignoramus,  but  not 
that  the  conclusion  is  not  too  abstrusely  modulated. 
With  regard  to  Bach,  the  compodtion  in  question 
seems  to  me  worthy  of  the  highest  admiration.  It  is 
long  since  I have  been  so  struck  or  surprised  by  any- 
thing as  by  the  Introduction,  which  Fanny  played  most 
beautifully ; and  I could  not  help  thinking  of  Bach’s 
solitary  position,  of  his  isolated  condition  with  regard  to 
his  associates  and  his  contemporaries,  of  his  pure,  mild, 
and  vast  power,  and  the  transparency  of  its  depths. 
The  particular  pieces  which  at  the  time  were  for  ever 
engraved  on  my  memory  were  “ Bestelle  dein  Haus,” 
and  “ Es  ist  der  alte  Bund.”  I cared  less  for  the  bass 
air,  or  the  alt  solos.  What  first,  through  his  “ Passion,” 
seemed  quite  clear  to  me — that  Bach  is  the  musical  type 
of  Protestantism — becomes  either  negatively  or  posh 
tively  more  apparent  to  me  every  time  that  I hear  a 


LETTER  FROM  HIS  FATHER. 


69 


new  piece  of  his ; and  thus  it  was  recently  with  a Mass 
that  I heard  in  the  Academy,  and  which  I consider 
most  decidedly  anti-Catholic ; and,  consequently,  even 
all  its  great  beauties  seemed  as  unable  to  reconcile  the 
inward  contradiction,  as  if  I were  to  hear  a Protestant 
clergyman  performing  Mass  in  a Protestant  Church. 
Moreover,  I felt  more  strongly  than  ever  what  a great 
merit  it  was  on  Zelter’s  part  to  restore  Bach  to  the 
Germans  j for,  between  Porkel’s  day  and  his,  very  little 
was  ever  said  about  Bach,  and  even  then  principally 
with  regard  to  his  “ wohltemperirte  Clavier.”  He  was 
the  first  person  on  whom  the  light  of  Bach  clearly 
dawned,  through  the  acquisition  of  his  other  works, 
with  which,  as  a collector  of  music,  he  became  acquaint- 
ed, and,  as  a genuine  artist,  imparted  this  knowledge  to 
others.  His  musical  performances  on  Fridays  were 
indeed  a proof  that  no  work  begun  in  earnest,  and 
followed  up  with  quiet  perseverance,  can  fail  ultimately 
to  command  success.  At  all  events,  it  is  an  undoubted 
fact,  that  without  Zelter,  your  own  musical  tendencies 
would  have  been  of  a totally  different  nature. 

Your  intention  to  restore  Handel  in  his  original 
form  has  led  me  to  some  reflections  on  his  later  style 
of  instrumentation.  A question  is  not  unfrequently 
raised  as  to  whether  Handel,  if  he  wrote  in  our  day, 
would  make  use  of  all  the  existing  musical  facilities  in 
composing  his  oratorios, — which,  in  fact,  only  means 
whether  the  wonted  artistic  form  to  which  we  give 
the  name  of  Handel  would  assume  the  same  shape  now 
that  it  did  a hundred  years  ago ; and  the  answer  to  this 
presents  itself  at  once.  The  question,  however,  ought 
to  be  put  in  a different  form, — not  whether  Handel 


70 


Mendelssohn’s  letters. 


would  compose  liis  oratorios  now  as  lie  did  a century 
since,  but,  rather,  whether  he  would  compose  any  ora- 
torios whatever;  hardly — if  they  must  be  written  in 
the  style  of  those  of  the  present  day. 

From  my  saying  this  to  you,  you  may  gather  with 
what  eager  anticipations  and  confidence  I look  forward 
to  your  oratorio,  which  will,  .1  trust,  solve  the  problem 
of  combining  ancient  conceptions  with  modern  appli- 
ances; otherwise  the  result  would  be  as  great  a failure 
as  that  of  the  painters  of  the  nineteenth  century,  who 
only  make  themselves  ridiculous  by  attempting  to  re- 
vive the  religious  elements  of  the  fifteenth,  with  its 
long  arms  and  legs  and  topsy-turvy  perspective.  These 
new  resources  seem  to  me,  like  everything  else  in  the 
world,  to  have  been  developed  just  at  the  right  time  in 
order  to  animate  the  inner  impulses  which  were  daily 
becoming  more  feeble.  On  the  heights  of  religious 
feeling  on  which  Bach,  Handel,  and  their  contempora- 
ries stood,  they  required  no  numerous  orchestras  for 
their  oratorios ; and  I can  remember  perfectly  in  my 
earliest  years  the  “ Messiah,”  “ Judas,”  and  Alex- 
ander’s Feast”  being  given  exactly  as  Handel  wrote 
them,  without  even  an  organ,  and  yet  to  the  delight 
and  edification  of  every  one. 

But  how  is  this  to  be  managed  nowadays,  when 
vacuity  of  thought  and  noise  in  music  are  gradually 
being  developed  in  inverse  relation  to  each  other? 
The  orchestra,  however,  is  now  established,  and  is 
likely  long  to  maintain  its  present  form  without  any 
essential  modification.  Riches  are  only  a fault  when 
we  do  not  know  how  to  spend  them.  How,  then,  is 
the  wealth  of  the  orchestra  to  be  applied  ? What 


LETTER  FROM  mS  FATHER. 


71 


guidance  can  the  poet  give  for  this,  and  to  what  re- 
gions ? or  is  music  to  be  entirely  severed  from  poetry, 
and  work  its  own  independent  way  ? I do  not  believe 
it  can  accomplish  the  latter,  at  least,  only  to  a very 
limited  extent,  and  not  available  for  the  world  at  large ; 
to  effect  the  former,  an  object  must  be  found  for  music 
as  well  as  for  painting,  which,  by  its  fervour,  its 
universal  sufficiency  and  perspicuity,  may  supply  the 
place  of  the  pious  emotions  of  former  days.  It  seems 
to  me  that  both  the  oratorios  of  Haydn  were,  in  their 
sphere,  also  very  remarkable  phenomena.  The  poems 
of  both  are  weak,  regarded  as  poetry;  but  they  have 
replaced  the  old  positive  and  almost  metaphysical  re- 
ligious impulses,  by  those  which  nature,  as  a visible 
emanation  from  the  Grodhead,  in  her  universality,  and 
her  thousandfold  individualities,  instils  into  every  sus- 
ceptible heart.  Hence  the  profound  depth,  but  also 
the  cheerful  efficiency,  and  certainly  genuine  religious 
influence  of  these  two  works,  which  hitherto  stand 
alone ; hence  the  combined  effect  of  the  playful  and 
detached  passages,  with  the  most  noble  and  sincere 
feelings  of  gratitude  produced  by  the  whole ; hence  is 
it,  also,  that  I individually  could  as  little  endure  to 
lose  in  the  Creation”  and  in  the  “ Seasons”  the  crow- 
ing of  the  cock,  the  singing  of  the  lark,  the  lowing  of 
the  cattle,  and  the  rustic  glee  of  the  peasants,  as  I 
could  in  nature  herself;  in  other  words,  the  “ Creation” 
and  the  “ Seasons”  are  founded  on  nature  and  the 
visible  service  of  G-od;  and  are  no  new  materials  for 
music  to  be  found  there  ? 

The  publication  of  Goethe’s  Correspondence  with  a 
Child”  I consider  a most  provoking  and  perniciou^i 


72 


MENDELSSOHNS  LETTERS. 


abuse  of  the  press,  through  which,  more  and  more  ra- 
pidly, all  illusions  will  be  destroyed,  without  which  life 
is  only  death.  You,  I trust,  will  never  lose  your  illu- 
sions, and  ever  preserve  your  filial  attachment  to  your 
father. 


To  HIS  Father. 

Diisseldorf,  March  23d,  1835. 

Dear  Father, 

I have  still  to  thank  you  for  your  last  letter  and  my 
“ Ave.”  I often  cannot  understand  how  it  is  possible 
to  have  so  acute  a judgment  with  regard  to  music, 
without  being  yourself  technically  musical ; and  if  I 
could  express  what  I assuredly  feel,  with  as  much  clear- 
ness and  intuitive  perception  as  you  do,  as  soon  as  you 
enter  on  the  subject,  I never  would  make  another  ob- 
scure speech  all  my  life  long.  I thank  you  a thousand 
times  for  this,  and  also  for  your  opinion  of  Bach.  I 
ought  to  feel  rather  provoked  that  after  only  one  very 
imperfect  hearing  of  my  composition  you  at  once  dis- 
covered what,  after  long  familiarity  on  my  part,  I have 
only  just  found  out ; but  then,  again,  it  pleases  me  to 
see  your  definite  sense  of  music,  for  the  deficiencies  in 
the  middle  movement  and  at  the  end  consist  of  such 
minute  faults,  which  might  have  been  remedied  by  a 
very  few  notes  (I  mean  struck  out),  that  neither  I nor 
any  other  musician  would  have  been  aware  of  them 
without  repeatedly  hearing  the  piece,  because  we  in  fact 
seek  the  cause  much  deeper.  They  injure  the  simpli- 


OPINION  OF  BACHES  MUSIC. 


73 


city  of  the  harmony,  which  at  the  beginning  pleases 
me;  and  though  it  is  my  opinion  that  these  faults 
would  be  less  perceptible  if  properly  executed,  that  is, 
with  a numerous  choir,  still  some  traces  of  them  will 
always  remain.  Another  time  I shall  endeavor  to  do 
better.  I should  like  you,  however,  to  hear  the  Bach 
again,  because  there  is  a part  of  it  which  you  care  less 
for,  but  which  pleases  me  best  of  all.  I allude  to  the 
alto  and  bass  airs ; only  the  chorale  must  be  given  by 
a number  of  alto  voices,  and  the  bass  very  well  sung. 
However  fine  the  airs  Bestelle  dein  Haus”  and  “ Es 
ist  der  alte  Bund”  may  be,  still  there  is  something  very 
sublime  and  profound  in  the  plan  of  the  ensuing  move- 
ments, in  the  mode  in  which  the  alto  begins,  the  bass 
then  interposing  with  freshness  and  spirit,  and  con- 
tinuing the  same  words  while  the  chorale  comes  in  as  a 
third,  the  bass  closing  exultantly,  but  the  chorale  not 
till  long  afterwards,  dying  away  softly  and  solemnly. 
There  is  one  peculiarity  of  this  music, — its  date  must 
be  placed  either  very  early  or  very  late,  for  it  entirely 
differs  from  his  usual  style  of  writing  in  middle  age, — 
the  first  choral  movements  and  the  final  chorus  being 
of  a kind  that  I should  never  have  attributed  to  Sebas- 
tian Bach,  but  to  some  other  composer  of  his  day; 
while  no  other  man  in  the  world  could  have  written  a 
single  bar  of  the  middle  movements. 

My  mother  does  not  judge  Hiller  rightly,  for,  in  spite 
of  his  pleasures  and  honours  in  Paris,  and  the  neglect 
he  met  with  in  Frankfort,  he  writes  to  me  that  he 
envies  me  my  position  here  on  the  Ehine,  even  witli 
all  its  drawbacks ; and  as,  no  doubt,  a similar  one  may 
still  be  met  with  in  Germany,  I do  not  give  up  tlio 
7 


74 


Mendelssohn’s  letters. 


hope  of  prevailing  on  him  to  forsake  the  Parisian  atmo- 
sphere of  pleasures  and  honours  and  return  to  his 
studio.  Now  farewell,  dear  Father.  I beg  you  will 
soon  let  me  hear  from  you  again.— Your 

Felix. 


To  HIS  Father. 

Diisseldorf,  April  3d,  1836. 

Dear  Father, 

I am  delighted  to  hear  that  you  are  satisfied  with 
the  programme  of  the  Cologne  Musical  Festival.  I 
shall  not  be  able  to  play  the  organ  for  Solomon,”  as  it 
must  stand  in  the  background  of  the  orchestra  and 
accompany  almost  every  piece,  the  choruses  and  other 
performers  here  being  accustomed  to  constant  beating 
of  time.  I must  therefore  transcribe  the  whole  of  the 
organ  part  in  the  manner  in  which  I think  it  ought  to 
be  played,  and  the  cathedral  organist  there,  Weber, 
will  play  it ; I am  told  he  is  a sound  musician  and  first- 
rate  player.  This  is  all  so  far  well,  and  only  gives  me 
the  great  labour  of  transcribing,  as  I wish  to  have  the 
performance  as  perfect  as  possible.  I have  had  a good 
deal  of  trouble,  too,  with  the  Morgengesang,”*  as 
there  is  much  in  it  that  requires  alteration,  owing  to 
the  impossibility  of  executing  it  as  written,  with  the 
means  we  have  here.  In  doing  so,  however,  it  again 
caused  me  extreme  pleasure,  especially  the  stars,  the 
moon,  the  elements,  and  the  whole  of  the  admirable 


* By  Reichardt.  Compare  the  passage  in  reference  to  Reichardt  in 
the  letter  of  December  28lh,  1833. 


COLOGNE  MUSICAL  FESTIVAL. 


75 


fiiiale.  At  the  words  “und  schlich  in  dieser  ISTacht,” 
etc.,  it  becomes  so  romantic  and  poetical,  that  each 
time  I hear  it  I feel  more  touched  and  charmed ; it 
tlierefore  gratifies  me  to  be  of  any  use  to  so  noble  a 
man.  The  Comite  were  very  much  surprised  when  I 
maintained  that  it  was  a fine  composition,  and  scarcely 
would  consent  to  have  it;  but  at  that  moment  they 
were  in  a mood  to  be  persuaded  to  anything.  I would 
also  have  insisted  on  their  giving  an  overture  of  Bach’s, 
if  I had  not  dreaded  too  strong  a counter-revolution. 
There  is  to  be  nothing  of  mine ; therefore  (from  grati- 
tude, I presume)  they  persist  that  my  “ admirable  like- 
ness” shall  appear  and  be  published  by  Whitsunday,  a 
project  from  which  I gallantly  defend  myself,  refusing 
either  to  sit  or  stand  for  the  purpose,  having  a particu- 
lar objection  to  such  pretensions. 

You  must  be  well  aware  that  your  presence  at  the 
festival  would  not  only  be  no  gene  to  me,  but,  on  the 
contrary,  would  cause  me  first  to  feel  true  joy  and 
delight  in  my  success.  Allow  me  to  take  this  oppor- 
tunity to  say  to  you  that  the  approbation  and  enjoy- 
ment of  the  public,  to  which  I am  certainly  very  sen- 
sible, only  causes  me  real  satisfaction  when  I can  write 
to  tell  you  of  it,  because  I know  it  rejoices  you,  and 
one  word  of  praise  from  you  is  more  truly  precious  to 
me,  and  makes  me  happier,  than  all  the  publics  in  the 
world  applauding  me  in  concert ; and  thus  to  see  you 
among  the  audience,  would  be  the  dearest  of  all  rewards 
to  me  for  my  labours. 

My  oratorio*  is  to  be  performed  in  Frankfort  in 


* “St.  PauL” 


76 


Mendelssohn’s  letters. 


NoTember,  so  Schelble  writes  to  me ; and  much  as  1 
should  like  you  to  hear  it  soon,  still  I should  prefer 
your  hearing  it  first  next  year,  at  the  Musical  Festival. 
Before  decidedly  accepting  the  proposal,  I have  stipu- 
lated to  wait  till  after  the  performance  at  Frankfort, 
that  I may  judge  whether  it  be  suitable  for  the  festival ; 
but  should  this  prove  to  be  the  case,  as  I hope  and 
wish  it  may,  it  will  have  a much  finer  efiect  there ; 
and,  besides,  it  is  the  festival  that  you  like,  and  Whit- 
sunday instead  of  November ; and,  above  all,  I shall 
then  know  whether  it  pleases  you  or  not,  on  which 
point  I feel  by  no  means  sure. 

I cannot  close  this  letter  without  speaking  of  the  hea- 
venly weather  that  delights  us  here.  Light  balmy  air 
and  sunshine,  and  a profusion  of  green,  and  larks  I To- 
day I rode  through  the  forest,  and  stopped  for  at  least 
a quarter  of  an  hour  to  listen  to  the  birds,  who  in  the 
deep  solitude  were  fluttering  about  incessantly  and 
warbling. — Y our 

Felix. 


To  Herr  Conrad  Schleinitz,  Leipzig. 

Dusseldort  April  16th,  1835. 

Sir, 

I thank  you  cordially  for  your  last  letter,  and  for 
the  fi:iendly  interest  which  you  take  in  me,  and  in  my 
coming  to  Leipzig.  As  I perceive  by  the  Herr  Stadt- 
rath  Porsche’s  letter,  as  well  as  by  that  of  the  Superin- 
tendent of  the  concerts,  that  my  going  there  does  not 
mterfere  with  any  other  person,  one  great  difficulty  is 


MUSIC  DIRECTORSHIP  AT  LEIPZIG. 


77 


thus  obviated.  But  another  has  now  arisen,  as  the 
letter  of  the  Superintendent  contains  different  views 
with  regard  to  the  situation  from  yours.  The  direction 
of  twenty  concerts  and  extra  concerts  is  named  as 
among  the  duties,  but  a benefit  concert  (about  which 
you  wrote  to  me)  is  not  mentioned.  I have  con- 
sequently said  in  my  reply  what  I formerly  wrote  to 
you,  that,  in  order  to  induce  me  to  consent  to  the  ex- 
change, I wish  to  see  the  same  pecuniary  advantages 
secured  to  me  that  I enjoy  here.  If  a benefit  concert, 
as  you  say,  would  bring  from  two  hundred  to  three 
hundred  dollars,  this  sum  would  certainly  be  a con- 
siderable increase  to  my  salary  ; but  I must  say  that  I 
never  made  such  a proposal,  and  indeed  would  not 
have  accepted  it  had  it  been  made  to  me.  It  would  be 
a different  thing  if  the  association  chose  to  give  an  ad- 
ditional concert,  and  to  devote  a share  of  the  profits 
towards  the  increase  of  my  established  salary.  During 
my  musical  career,  I have  always  resolved  never  to 
give  a concert  for  myself  (for  my  own  benefit).  You 
probably  are  aware  that,  personally,  pecuniary  con- 
siderations would  be  of  less  importance  to  me,  were  it 
not  that  my  parents  (and  I think  rightly)  exact  from 
me  that  I should  follow  my  art  as  a profession  and  gain 
my  livelihood  by  means  of  it.  I,  however,  reserved 
the  power  of  declining  certain  things  which,  in  reference 
to  my  favoured  position  in  this  respect,  I will  nevei 
do;  for  example,  giving  concerts  or  lessons.  But  I 
quite  acknowledge  the  propriety  of  what  my  parents 
insist  on  so  strongly,  that  in  all  other  relations  I shall 
gladly  consider  myself  as  a musician  who  lives  by  his 
profession.  Thus,  before  giving  up  my  present  situation. 


78 


Mendelssohn’s  letters. 


I must  ascertain  that  one  equally  advantageous  is  se- 
cured to  me.  I do  not  consider  that  v^hat  I require  is 
at  all  presumptuous,  as  it  has  been  offered  to  me  here, 
and  on  this  account  I trust  that  a similar  course  may 
be  pursued  in  Leipzig.  An  association  was  at  that 
time  formed  here,  who  intrusted  to  me  the  duty  of 
conducting  the  Vocal  Association,  concerts,  etc.,  and 
made  up  my  salary  partly  in  common  with  the  Vocal 
Association  and  partly  by  the  profits  of  the  concerts. 
Whether  anything  of  this  kind  be  possible  with  you, 
or  whether  it  could  be  equalized  by  an  additional  con- 
cert, or  whether  the  execution  of  particular  duties  is  to 
be  imposed  on  me,  I cannot,  of  course,  pretend  to  de- 
cide. I only  wish  that,  in  one  way  or  another,  a de- 
finite position  should  be  assured  to  me,  like  the  one  I 
enjoy  here ; and  if  your  idea  about  the  benefit  concert 
could  be  modified  and  carried  out,  there  would  then  be 
a good  hope  for  me  that  the  affair  might  turn  out  ac- 
cording to  my  wish. 

If  you  can  induce  the  directors  to  fulfil  the  wishes  I 
have  expressed,  you  will  exceedingly  oblige  me,  for 
you  know  how  welcome  a residence  and  active  em- 
ployment in  your  city  would  be  to  me.  In  any  event, 
continue  your  friendly  feehngs  towards  me,  and  accept 
my  thanks  for  them. 


ON  HAVING  HIS  PORTRAIT  TAKEN. 


79 


To  THE  Herr  Regierungs-Seoretair  Hixte,  Cologne. 

Diisseldorf,  May  18  th,  1835. 

Sir, 

I thank  you  much  for  the  kind  letter  you  have  grati- 
fied me  by  addressing  to  me.  The  idea  which  you 
communicate  in  it  is  very  flattering  for  me,  and  yet  I 
confess  that  I feel  a certain  degree  of  dislike  to  what 
you  propose,  and  for  a long  time  past  I have  entertain- 
ed this  feeling.  It  is  now  so  very  much  the  fashion 
for  obscure  or  commonplace  people  to  have  their  like- 
ness given  to  the  public,  in  order  to  become  more 
known,  and  for  young  beginners  to  do  so  at  first  start- 
ing in  fife,  that  I have  always  had  a dread  of  doing  so 
too  soon.  I do  not  wish  that  my  likeness  should  be 
taken  until  I have  accomphshed  something  to  render 
me  more  worthy,  according  to  my  idea,  of  such  an 
honour.  This,  however,  not  being  yet  the  'case,  I beg 
to  defer  such  a compliment  till  I am  more  deserving  of 
it ; but  receive  my  best  thanks  for  the  friendly  good- 
nature with  which  you  made  me  this  oJTer.* — I am,  etc., 
Felix  Mendelssohn  Barthold y. 


To  HIS  Family. 

Leipzig,  October  6th,  1835. 

For  a week  past  I have  been  seeking  for  a leisure 
hour  to  answer,  and  to  thank  you  for,  the  charming  let- 

♦ Compare  the  passage  on  this  subject  in  the  letter  of  April  3d,  1885. 


80 


Mendelssohn’s  letters. 


ters  I have  received  from  you ; but  the  London  days, 
with  their  distractions,  were  not  worse  than  the  time 
has  been  since  Fanny  left  this  till  now.  At  length, 
after  the  successful  result  of  the  first  concert,  I have  at 
last  a certain  degree  of  rest. 

The  day  after  I accompanied  the  Hensels  to  Delitsch 
Chopin  came ; he  intended  only  to  remain  one  day,  so 
we  spent  this  entirely  together  in  music.  I cannot 
deny,  dear  Fanny,  that  I have  lately  found  that  you  by 
no  means  do  him  justice  in  your  judgment  of  his  ta- 
lents; perhaps  he  was  not  in  a humour  for  playing 
when  you  heard  him,  which  may  not  unfrequently  be 
the  case  with  him.  But  his  playing  has  enchanted  me 
afresh,  and  I am  persuaded  that  if  you,  and  my  Father 
also,  had  heard  some  of  his  better  pieces,  as  he  played 
them  to  me,  you  would  say  the  same.  There  is  some- 
thing thoroughly  original  in  his  pianoforte  playing,  and 
at  the  same  time  so  masterly,  that  he  may  be  called  a 
most  perfect  virtuoso  ; and  as  every  style  of  perfection 
is  welcome  and  acceptable,  that  day  was  most  agree- 
able to  me,  although  so  entirely  different  from  the  pre- 
vious ones  with  you, — the  Hensels. 

It  was  so  pleasant  for  me  to  be  once  more  with  a 
thorough  musician,  and  not  with  those  half  virtuosos 
and  half  classics,  who  would  gladly  combine  les  Tion- 
neurs  de  la  vertu  ef  les  plaisirs  du  vice^  but  with  one 
who  has  his  perfect  and  well-defined  phase ; and  how- 
ever far  asunder  we  may  be  in  our  different  spheres, 
still  I can  get  on  famously  with  suqh  a person ; but  not 
with  those  half-and-half  people.  Sunday  evening  was 
really  very  remarkable  when  Chopin  made  me  play 
over  my  oratorio  to  him,  while  curious  Leipzigers  stole 


M.  CHOPIN. 


81 


into  the  room  to  see  him,  and  when  between  the  first 
and  second  part  he  dashed  into  his  new  Etudes  and  a 
new  concerto,  to  the  amazement  of  the  Leipzigers,  and 
then  I resumed  my  ^^St.  Paul;”  it  was  just  as  if  a 
Cherokee  and  a Kaffir  had  met  to  converse.  He  has 
also  such  a lovely  new  notturno^  a considerable  part  of 
which  I learnt  by  ear  for  the  purpose  of  playing  it  for 
Paul’s  amusement.  So  we  got  on  most  pleasantly 
together;  and  he  promised  faitlifully  to  return  in  the 
course  of  the  winter,  when  I intend  to  compose  a new 
symphony,  and  to  perform  it  in  honour  of  him.  We 
vowed  these  things  in  the  presence  of  three  witnesses, 
and  we  shah,  see  whether  we  both  adhere  to  our  word. 
My  collection  of  Handel’s  works  arrived  before  Chopin’s 
departure,  and  were  a source  of  quite  childish  delight 
to  him ; they  really  are  so  beautiful  that  I am  charmed 
with  them;  thirty- two  great  folios,  bound  in  thick  green 
leather,  in  the  regular  nice  English  fashion,  and  on  the 
back,  in  big  gold  letters,  the  title  and  contents  of  each 
volume ; and  in  the  first  volume,  besides,  there  are  the 
following  words,  “ To  Director  P.  M.  B.,  from  the 
Committee  of  the  Cologne  Musical  Festival,  1835.” 
The  books  were  accompanied  by  a very  civil  letter, 
with  the  signatures  of  all  the  Committee,  and  on  taking 
up  one  of  the  volumes  at  random  it  happened  to  be 
“ Samson,”  and  just  at  the  very  beginning  I found  a 
grand  aria  for  Samson  which  is  quite  unknown,  because 
Herr  von  Mosel  struck  it  out,  and  which  yields  in 
beauty  to  none  of  Handels ; so  you  see  what  pleasure 
is  in  store  for  me  in  all  the  thirty- two  volumes.  You 
may  imagine  my  dehght.  Before  setting  ofi*  on  his 
journey,  Moscheles  came  to  see  me,  and  during  the  first 


82 


Mendelssohn’s  letters. 


half-hour  he  played  over  my  second  book  of  “ songs 
without  words”  to  my  extreme  pleasure.  He  is  not 
the  least  changed,  only  somewhat  older  in  appearance, 
but  otherwise  as  fresh  and  in  as  good  spirits  as  ever, 
and  playing  quite  splendidly, — another  kind  of  perfect 
virtuoso  and  master  combined.  The  rehearsals  of  the 
first  subscription  gradually  drew  near,  and  the  day 
before  yesterday  my  Leipzig  music-directorship  com- 
menced. I cannot  tell  you  how  much  I am  satisfied 
with  this  beginning,  and  with  the  whole  aspect  of  my 
position  here.  It  is  a quiet,  regular,  official  business. 
That  the  Institute  has  been  established  for  fifty-six 
years  is  very  perceptible,  and  moreover  the  people 
seem  most  friendly  and  well-disposed  towards  me  and 
my  music.  The  orchestra  is  very  good,  and  thoroughly 
musical ; and  I think  that  six  months  hence  it  will  be 
much  improved,  for  the  sympathy  and  attention  with 
which  these  people  receive  my  suggestions,  and  instantly 
adopt  them,  were  really  touching  in  both  the  rehearsals 
we  have  hitherto  had ; there  was  as  great  a difference 
as  if  another  orchestra  had  been  playing.  There  are 
still  some  deficiencies  in  the  orchestra,  but  these  will  be 
supplied  by  degrees ; and  I look  forward  to  a succession 
of  pleasant  evenings  and  good  performances.  I wish 
you  had  heard  the  introduction  to  my  “ Meeresstille” 
(for  the  concert  began  with  that)  ; there  was  such  pro- 
found silence  in  the  hah  and  in  the  orchestra,  that  the 
most  delicate  notes  could  be  distinctly  heard,  and  they 
played  the  adagio  from  first  to  last  in  the  most  masterly 
manner;  the  allegro  not  quite  so  well,  for,  being  ac- 
customed to  a slower  tempo ^ they  rather  dragged ; but 
at  the  end,  where  the  slow  time  begins,  they  went 


CONCERT  AT  LEIPZIG. 


83 


capitally,  the  violins  attacking  it  with  a degree  of 
vehemence  that  quite  startled  me  and  delighted  the 
publicus.  The  following  pieces,  an  air  in  E major  of 
Weber,  a violin  concerto  by  Spohr,  and  the  introduction 
to  “ Ali  Baba,”  did  not  go  so  well;  the  one  rehearsal 
was  not  sufficient,  and  they  were  often  unsteady ; but, 
on  the  other  hand,  Beethoven’s  B flat  symphony,  which 
formed  the  second  part,  was  splendidly  given,  so  that 
the  Leipzigers  shouted  with  delight  at  the  close  of  each 
movement.  I never  in  any  orchestra  saw  such  zeal  and 
excitement ; they  listened  like — popinjays,  Zelter  would 
say. 

After  the  concert  I received,  and  offered  in  turn,  a 
mass  of  congratulations : first  the  orchestra,  then  the 
Thomas  School  collegians  (who  are  capital  fellows,  and 
always  join  in,  so  punctually  and  vigorously,  that  I 
have  promised  them  a medal)  ; then  came  Moscheles, 
with  a Court  suite  of  dilettanti^  then  two  editors  of  musi- 
cal papers,  and  so  on.  Moscheles’  concert  is  on  Friday, 
and  I am  to  play  his  piece  for  two  pianos*  with  him, 
and  he  is  to  play  my  new  pianoforte-concerto.  My 
“ Hebrides”  have  also  contrived  to  creep  into  the  con- 
cert. This  afternoon  Moscheles,  Clara  Wieck,  and  I, 
play  Sebastian  Bach’s  triple  concerto  in  D minor.  How 
amiable  Moscheles  is  towards  myself,  how  cordially  he 
is  interested  in  my  situation  here,  how  it  delights  me 
that  he  is  so  satisfied  with  it,  how  he  plays  my  rondo 
in  E flat  to  my  great  admiration,  and  far  better  than  I 
originally  conceived  it,  and  how  we  dine  together 
every  forenoon  in  his  hotel,  and  every  evening  drink 


* “ Hommage  h Handel.’ 


84 


Mendelssohn’s  letters. 


tea  and  have  music  in  mine, — all  this  you  can  imagine 
for  yourself,  for  you  know  him, — especially  you,  dear 
father.  These  are  pleasant  days ; and  if  I have  not 
much  leisure  to  work,  I mean  to  make  up  for  it  here- 
after, and  shall  derive  as  much  benefit  from  it  then  as 
now. 

My  first  concert  caused  me  no  perturbation,  dear 
Mother,  but  to  my  shame  I confess  that  I never  felt  so 
embarrassed  at  the  moment  of  appearing  as  on  that  oc- 
casion ; I believe  it  arose  from  our  long  correspondence 
and  treaty  on  the  subject,  and  I had  never  before  seen 
a concert  of  the  kind.  The  locality  and  the  lights  con- 
fused me.  Now  farewell  all.  May  you  be  well  and 
happy,  and  pray  write  to  me  very  often. — Your 

Felix. 


To  Pastor  Julius  Schubring,  Dessau. 

Leipzig,  December  6th  .1835. 

Dear  Schubring, 

You  have  no  doubt  heard  of  the  heavy  stroke  that 
has  fallen  on  my  happy  life  and  those  dear  to  me.*  It 
is  the  greatest  misfortune  that  could  have  befallen  me, 
and  a trial  that  I must  either  strive  to  bear  up  against, 
or  must  utterly  sink  under.  I say  this  to  myself  after 
the  lapse  of  three  weeks,  without  the  acute  anguish  of 
the  first  days,  but  I now  feel  it  even  more  deeply ; a new 
life  must  now  begin  for  me,  or  all  must  be  at  an  end : 
the  old  life  is  now  severed.  For  our  consolation  and  ex- 
ample, our  mother  bears  her  loss  with  the  most  wonder- 


* The  death  of  his  father. 


DEATH  OF  HIS  FATHER. 


85 


ful  composure  and  firmness ; she  comforts  herself  with 
her  children  and  grandchildren,  and  thus  strives  to  hide 
the  chasm  that  never  can  be  filled  up.  My  brother  and 
sisters  do  what  they  can  to  fulfil  their  duties  better  than 
ever,  the  more  difficult  they  have  become.  I was  ten 
days  in  Berlin,  that  by  my  presence  my  mother  should 
at  least  be  surrounded  by  her  whole  family ; but  I need 
scarcely  tell  you  what  these  days  were ; you  know  it 
well,  and  no  doubt  you  thought  of  me  in  that  dark  hour. 
Grod  granted  to  my  father  the  prayer  that  he  had  often 
uttered ; his  end  was  as  peaceful  and  quiet  and  as  sudden 
and  unexpected  as  he  desired.  On  Wednesday,  the  18th, 
he  was  surrounded  by  all  his  family,  went  to  bed  late 
the  same  evening,  complained  a little  early  on  Thursday, 
and  at  hall-past  eleven  his  life  was  ended.  The  physi- 
cians can  give  his  malady  no  name.  It  seems  that  my 
grandfather  Moses  died  in  a similar  manner, — so  my  un- 
cle told  us, — at  the  same  age,  without  sickness,  and  in  a 
calm  and  cheerful  frame  of  mind.  I do  not  know  whether 
you  are  aware  that  more  especially  for  some  years  past 
my  father  was  so  good  to  me,  so  thoroughly  my  friend, 
that  I was  devoted  to  him  with  my  whole  soul,  and  du- 
ring my  long  absence  I scarcely  ever  passed  an  hour 
without  thinking  of  him ; but  as  you  knew  him  in  his 
dwn  home  with  us,  in  all  his  kindliness,  you  can  well 
realize  my  state  of  mind.  The  only  thing  that  now 
-remains  is  to  do  one’s  duty,  and  this  I strive  to  ac- 
complish with  all  my  strength,  for  he  would  wish  it  to 
be  so  if  he  were  still  present,  and  I shall  never  cease  to 
endeavour  to  gain  his  approval  as  I formerly  did,  though 
I can  no  longer  enjoy  it.  When  I delayed  answering 
your  letter,  I little  thought  I should  have  to  answer  it 
8 


86 


Mendelssohn’s  letters. 


thus ; let  me  thank  you  for  it  now,  and  for  all  your 
kindness.  One  passage  for  “ St.  Paul”  was  excellent, 
“ der  Du  der  rechte  Yater  hist.”  I have  a chorus  in  my 
head  for  it  which  I intend  shortly  to  write  down.  I 
shall  now  work  with  double  zeal  at  the  completion  of 
“ St.  Paul,”  for  my  father  urged  me  to  it  in  the  very 
last  letter  he  wrote  to  me,  and  he  looked  forward  very 
impatiently  to  the  completion  of  my  work.  I feel  as  if 
I must  exert  all  my  energies  to  finish  it,  and  make  it  as 
good  as  possible,  and  then  think  that  he  takes  an  inte- 
rest in  it.  If  any  good  passages  occur  to  you,  pray  send 
them  to  me,  for  you  know  the  intention  of  the  whole. 
To-day,  for  the  first  time,  I have  begun  once  more  to 
work  at  it,  and  intend  now  to  do  so  daily.  When  it  is 
concluded,  what  is  to  come  next,  God  will  direct. 
Farewell,  dear  Schubring  : bear  me  in  your  thoughts. 
— Your 

Felix  Mendelssohn  Bartholdy. 


To  Pastor  Bauer,  Beszig. 

Leipsig,  December  9th,  1835. 

I received  your  kind  letter  here,  on  the  very  day 
when  the  christening  in  your  family  was  to  take  place, 
on  my  return  from  Berlin,  where  I had  gone  in  the 
hope  of  alleviating  my  mother’s  grief,  immediately  after 
the  loss  of  my  father.  So  I received  the  intelligence  of 
your  happiness,  on  again  crossing  the  threshold  of  my 
empty  room,  when  I felt  for  the  first  time  in  my  inmost 
beir  g what  it  is  to  suffer  the  most  painful  and  bitter 


INVITATION  TO  A CHRISTENING. 


87 


anguish.  Indeed,  the  wish  which  of  all  others  every 
night  recurred  to  my  mind,  was  that  I might  not  sur- 
vive my  loss,  because  I so  entirely  clung  to  my  father, 
or  rather  stiU  cHng  to  him,  that  I do  not  know  how  I 
can  now  pass  my  life,  for  not  only  have  I to  deplore  the 
loss  of  a father  (a  sorrow  which  of  all  others  from  my 
childhood  I always  thought  the  most  acute),  but  also 
that  of  my  best  and  most  perfect  friend  during  the  last 
few  years,  and  my  instructor  in  art  and  in  life. 

It  seemed  to  me  so  strange,  reading  your  letter, 
which  breathed  only  joy  and  satisfaction,  calling  on  me 
to  rejoice  with  you  on  your  future  prospects,  at  the  mo- 
ment when  I felt  that  my  past  was  lost  and  gone  for 
ever ; but  I thank  you  for  wishing  me,  though  so  dis- 
tant, to  become  your  guest  at  the  christening;  and 
though  my  name  may  make  a graver  impression  now 
than  you  probably  thought,  I trust  that  impression  vAll 
only  be  a grave,  and  not  a painful,  one,  to  you  and  your 
wife ; and  when,  in  later  years,  you  tell  your  child  of 
those  whom  you  invited  to  his  baptism,  do  not  omit  my 
name  from  your  guests,  but  say  to  him  that  one  of  them 
on  that  day  recommenced  his  life  afresh, — though  in 
another  sense,  with  new  purposes  and  wishes,  and  with 
new  prayers  to  Grod. 

My  mother  is  well,  and  bears  her  sorrow  with  such 
composure  and  dignity  that  we  can  all  only  wonder  and 
admire,  and  ascribe  it  to  her  love  for  her  children  and 
her  wish  for  their  happiness.  As  for  myself,  when  I 
tell  you  that  I strive  to  do  my  duty  and  thus  to  win 
my  father’s  approval  now  as  I always  formerly  did,  and 
devote  to  the  completion  of  “St.  Paul,”  in  which  he 
took  such  pleasure,  all  the  energies  of  my  mind,  to 


88 


Mendelssohn’s  letters. 


make  it  as  good  as  I possibly  can, — when  I say  that  I 
force  myself  to  the  performance  of  my  duties  here,  not 
to  pass  quite  unprofitably  these  first  days  of  sorrow, 
when  to  be  perfectly  idle  is  most  consonant  to  one’s 
feelings,— ^that,  lastly,  the  people  here  are  most  kind 
and  sympathizing,  and  endeavor  to  make  life  as  little 
painful  to  me  as  they  can, — you  know  the  aspect  of 
my  inner  and  outer  life  at  this  moment.  Farewell. 


To  Ferdinand  Hiller. 

Leipdg,  January  24th.  1836. 

My  dear  Ferdinand, 

I now  send  you  my  promised  report  of  the  perform- 
ance of  your  D minor  overture,  which  took  place  last 
Thursday  evening.  It  was  well  executed  by  the  or- 
chestra; we  had  studied  it  repeatedly  and  carefully, 
and  a great  many  of  the  passages  sounded  so  well  as 
to  exceed  my  expectations.  The  most  beautiful  of  all 
was  the  first  passage  in  A minor,  piano ^ given  by  wind 
instruments,  followed  by  the  melody, — which  had  an 
admirable  effect ; and  also  at  the  beginning  of  the  free 
fantasia,  the  forte  in  Gr  minor,  and  then  IYiq  piano  (youi 
favourite  passage),  likewise  the  trombones  and  wind 
instruments,  piano^  at  the  end  in  D major.  The  Finale, 
too,  exceeded  my  expectations  in  the  orchestra.  But, 
trusting  to  our  good  understanding,  I could  not  resist 
striking  out,  after  the  first  rehearsal,  the  staccato  double- 
basses  in  the  melody  in  A major,  and  each  time  the 
passage  recurred  in  F and  D major,  replacing  them  by 


CRITICISM  ON  Hiller’s  music. 


89 


sustained  notes ; you  can’t  think  how  confused  the 
effect  was,  and  therefore  I hope  you  will  not  take  this 
liberty  amiss.  I am  convinced  you  would  have  done 
the  same  ; it  did  not  sound  as  you  would  have  liked. 

I have  something  else,  too,  on  my  conscience  that  I 
must  tell  you.  The  Overture  neither  excited  myself 
nor  the  musicians  during  its  performance  as  I could 
have  wished ; it  left  us  rather  cold.  This  would  have 
been  of  little  consequence,  but  it  was  remarkable  that 
all  the  musicians  to  whom  I spoke  said  the  same.  The 
first  theme  and  all  the  begiuning,  the  melodies  in  A 
minor  and  A major,  particularly  delighted  them ; and 
up  to  that  point  they  had  all  felt  enthusiastic  ; but  then 
their  sympathy  gradually  subsided,  till,  when  the  close 
came,  they  had  quite  forgotten  the  striking  impression 
of  the  theme,  and  no  longer  felt  any  interest  in  the 
music.  This  seems  to  me  important,  for  I think  it  is 
connected  with  the  difference  which  we  have  so  re- 
peatedly discussed  together,  and  the  want  of  interest 
with  which  you  at  all  times  regard  your  art,  being  now 
at  length  become  perceptible  to  others.  I would  not 
say  this  to  you,  were  it  not  that  I am  perfectly  con- 
vinced of  this  being  a point  which  must  be  left  to  each 
individual^  as  neither  nature  nor  talents,  even  of  the 
highest  order,  can  remedy  it ; a man’s  own  will  alone 
can  do  so.  Nothing  is  more  repugnant  to  me  than 
casting  blame  on  the  nature  or  genius  of  any  one ; it 
only  renders  him  irritable  and  bewildered,  and  does  no 
good.  No  man  can  add  one  inch  to  his  stature : in 
such  a case  all  striving  and  toiling  is  vain,  therefore  it 
is  best  to  be  silent.  Providence  is  answerable  for  this 
defect  in  his  nature.  But  if  it  be  the  case,  as  it  is  with 


90 


Mendelssohn’s  letters. 


this  work  of  yours,  that  precisely  those  very  themes, 
and  all  that  requires  talent  or  genius  (call  it  as  you 
will),  is  excellent  and  beautiful  and  touching,  but  the 
development  not  so  good, — then,  I think,  silence  should 
not  be  observed;  then,  I think,  blame  can  never  be 
unwise,  for  this  is  the  point  where  great  progress  can 
be  made  by  the  composer  himself  in  his  works ; and 
as  I believe  that  a man  with  fine  capabilities  has  the 
absolute  duty  imposed  on  him  of  becoming  something 
really  superior,  so  I think  that  blame  must  be  attributed 
to  him  if  he  does  not  develop  himself  according  to  the 
means  with  which  he  is  endowed.  And  I maintain 
that  it  is  the  same  with  a musical  composition.  Do 
not  tell  me  that  it  is  so,  and  therefore  it  must  remain 
so.  I know  well  that  no  musician  can  alter  the 
thoughts  and  talents  which  Heaven  has  bestowed  on 
him ; but  I also  know  that  when  Providence  grants 
him  superior  ones,  he  must  also  develop  them  properly. 
Do  not  declare,  either,  that  we  were  all  mistaken,  and 
that  the  execution  was  as  much  in  fault  as  the  compo- 
sition. I do  not  believe  it.  I do  believe  that  your 
talents  are  such  that  you  are  inferior  to  no  musician, 
but  I scarcely  know  one  piece  of  yours  that  is  system- 
atically carried  out.  The  two  overtures  are  certainly 
your  best  pieces,  but  the  more  distinctly  you  express 
your  thoughts,  the  more  perceptible  are  the  defects, 
and,  in  my  opinion,  you  must  rectify  them. 

Do  not  ask  me  how,  for  that  you  know  best  yourself. 
After  all,  it  is  only  the  affair  of  a walk,  or  a moment, — 
in  short,  of  a thought.  If  you  laugh  at  me  for  this 
long  lecture,  perhaps  you  may  be  quite  right ; but  cer- 
tainly not  so  if  you  are  displeased,  or  bear  me  a grudge 


LETTEK  TO  HIS  SISTER. 


91 


for  it ; though  indeed  it  is  very  stupid  in  me  even  to 
suggest  such  a possibility.  But  how  many  musicians 
are  there  who  would  permit  another  to  address  them 
thus  ? And  though  you  must  see  in  every  expression 
of  mine  how  much  I love  and  revere  your  genius,  still 
I have  told  you  that  you  are  not  absolute  perfection, 
and  this  musicians  usually  take  amiss.  But  you  will 
not ; you  know  my  sincere  interest  in  you  too  well. 


To  Fanny  Hensel,  Berlin. 

Leipzig,  January  30th,  1836. 

Dear  Fanny, 

To-day  at  length  I can  reply  to  your  charming  let- 
ters, and  lecture  you  severely  for  saying  in  your  first 
letter  that  it  was  long  since  you  had  been  able  to  please 
me  by  your  music,  and  asking  me  how  this  was.  I to- 
tally deny  this  to  be  the  fact,  and  assure  you  that  all 
you  compose  pleases  me.  If  two  or  three  things  in 
succession  did  not  satisfy  me  as  entirely  as  others  of 
yours,  I think  the  ground  lay  no  deeper  than  this,  that 
you  have  written  less  than  in  former  days,  when  one 
or  two  songs  that  did  not  exactly  suit  my  taste  were 
so  rapidly  composed,  and  replaced  so  quickly  by  others, 
that  neither  of  us  considered  much  why  it  was  that 
they  were  less  attractive ; we  only  laftghed  together 
about  them,  and  there  was  an  end  of  it. 

I may  quote  here  “ Die  Schonheit  nicht,  0 Madchen,” 
and  many  others  in  the  ^^prima  maniera  of  our  master,’' 
which  we  heartily  abused.  Then  came  beautiful  songs 


92 


MENDELSSOHN'S  LETTERS. 


in  their  turn,  and  so  it  is  at  present,  only  they  cannot 
follow  each  other  in  such  quick  succession,  because  you 
must  often  now  have  other  things  to  occupy  your 
thoughts  besides  composing  pretty  songs,  and  that  is  a 
great  blessing.  But  if  you  suppose  that  your  more 
recent  compositions  seem  to  me  inferior  to  your  earlier 
ones,  you  are  most  entirely  and  totally  mistaken,  for 
I know  no  song  of  yours  better  than  the  English  one 
in  Gr  minor,  or  the  close  of  the  “ Liederkreis,”  and 
many  others  of  later  date : besides,  you  are  aware  that 
formerly  there  were  entire  hooks  of  your  composition 
that  were  less  acceptable  to  me  than  others,  because 
my  nature  always  was  to  be  a screech-owl,  and  to 
belong  to  the  savage  tribe  of  brothers.  But  you  know 
well  how  much  I love  all  your  productions,  and  some 
are  especially  dear  to  my  heart ; so  I trust  that  you  will 
write  to  me  forthwith  that  you  have  done  me  injustice, 
by  considering  me  a man  devoid  of  taste,  and  that  you 
will  never  again  do  so. 

And,  then,  neither  in  this  letter  nor  in  your  former 
one  do  you  say  one  word  about  “ St.  Paul  ” or  “ Melu- 
sina,”  as  one  colleague  should  write  to  another, — that 
is,  remarks  on  fifths,  rhythm,  and  motion  of  the  parts, 
on  conceptions,  counterpoint,  et  ccetera  animalia.  You 
ought  to  have  done  so,  however,  and  should  do  so  still, 
for  you  know  the  value  I attach  to  this ; and  as  “ St. 
Paul”  is  shortly  to  be  sent  to  the  publisher,  a few  stric- 
tures from  you  would  come  just  at  the  right  moment. 
I write  to  you  to-day  solely  in  the  hope  of  soon  receiv- 
ing an  answer  from  you,  for  I am  very  weary  and  ex- 
hausted from  yesterday’s  concert,  where,  in  addition  to 
conducting  three  times,  I was  obliged  to  play  Mozart’s 


Mozart’s  d ^nor  concerto. 


93 


D minor  concerto.  In  the  first  movement  I made  a 
cadenza^  which  succeeded  famously,  and  caused  a tre- 
mendous sensation  among  the  Leipzigers.  I must  write 
down  the  end  of  it  for  you.  You  remember  the  theme, 
of  course  ? Towards  the  close  of  the  cadence,  arpeggios 
come  in  pianissimo  in  D minor,  thus — 


Then  again  & minor  arpeggios  ; then 


his. 


(1= 


4-  _SL_ 


5— 


bis. 


iszzS; 


f— 


94 


Mendelssohn’s  letters. 


/r. 


etc.,  to  the  close  in  D minor.  Our  second  violin  player, 
an  old  musician,  said  to  me  afterwards,  when  he  met 
me  in  the  passage,  that  he  had  heard  it  played  in  the 
same  Hall  by  Mozart  himself,  but  since  that  day  he  had 
heard  no  one  introduce  such  good  cadenzas  as  I did 
yesterday, — which  gave  me  very  great  pleasure. 

Do  you  know  Handel’s  “ Coronation  Anthem  ? ” It 
is  most  singular.  The  beginning  is  one  of  the  finest 
which  not  only  Handel,  but  any  man,  ever  composed; 
and  all  the  remainder,  after  the  first  short  movement, 
horridly  dry  and  commonplace.  The  performers  could 
not  master  it,  but  are  certainly  far  too  busy  to  grieve 
much  about  that. 

Many  persons  here  consider  Melusina”  to  be  my 
best  overture  ; at  all  events,  it  is  the  most  deeply  felt ; 


MUSICAL  STRIFE  AT  DuSSELDORF.  95 

but  as  to  the  fabulous  nonsense  of  the  musical  papers, 
about*  red  coral  and  green  sea-monsters,  and  magic 
palaces,  and  deep  seas,  this  is  stupid  stuff,  and  fills  me 
with  amazement.  But  now  I take  my  leave  of  water 
for  some  time  to  come,  and  must  see  how  things  are 
going  on  elsewhere.*  I received  to-day  a letter  from 
Dusseldorf,  with  the  news  of  the  musical  doings  there, 
and  a request  to  send  “ St.  Paul  ’ soon  for  the  Musical 
Festival.  I cannot  deny  that  when  I read  the  descrip- 
tion of  their  concerts,  and  some  concert  bills  which 
were  enclosed,  and  realized  the  state  of  the  musical 
world  there,  I had  a most  agreeable  sensation  at  my 
change  of  position.  They  cannot  well  be  compared; 
for  while  there  they  are  engaged  in  perpetual  quarrel- 
ling and  strife  and  petty  criticisms,  here,  on  the  con- 
trary, during  the  course  of  this  whole  winter,  my 
situation  has  not  caused  me  to  pass  one  disagreeable 
day,  or  to  hear  hardly  one  annoying  expression,  while 
I have  enjoyed  much  pleasure  and  gratification.  The 
whole  orchestra,  and  there  are  some  able  men  among 
them,  strive  to  guess  my  wishes  at  a glance  ; they  have 
made  the  most  extraordinary  progress  in  finish  and  re- 
finement, and  are  so  devoted  to  me,  that  I often  feel 
quite  affected  by  it. 

Would  that  I were  less  sad  and  sorrowful;  for  some- 
times I do  not  know  what  to  do,  and  can  only  hope 
that  the  approaching  spring  and  the  warm  weather 
may  cheer  me. 

* This  refers  to  the  circumstaDce  of  Mendelssohn's  father  having 
advised  him  to  “ hang  up  on  a nail’’  the  elfin  and  spirit  life  with  which* 
for  a certain  period,  Mendelssohn  had  chiefly  occupied  himself  in  his 
compositions,  and  to  proceed  to  graver  works. 


96 


MENDELSSOHNS  LETTERS. 


I trust,  you  and  yours  may  all  continue  well  and 
happy,  and  sometimes  think  of  me. — Your 

Felix. 


To  Dr.  Frederick  Eosen,  London, 

(PROFESSOR  OF  ORIENTAL  LANGUAGES.) 

Leipzig,  February  6th,  1896. 

My  dear  Friend, 

I had  intended  writing  to  you  long  ago,  but  have 
always  delayed  it  till  now,  when  I am  compelled  to  do 
so  by  Klingemann’s  announcement  that  your  Yedas” 
is  finished.  I wish  therefore  to  send  you  my  congratu- 
lations at  once  ; and  though  I understand  very  little  of 
it,  and  consequently  can  appreciate  its  merits  as  little, 
still  I wish  you  joy  of  being  able  to  give  to  the  world  a 
work  so  long  cherished,  and  so  interesting  to  you,  and 
which  cannot  fail  to  bring  you  new  fame  and  new  de- 
light. And  when  I feel  how  little  I,  who  never  learnt 
the  language,  can  do  justice  to  the  vast  circumference 
of  such  a work,  I may  indeed  congratulate  you  on  the 
fact  that  no  spurious  connoisseurs  or  dilettanti  grope 
their  way  into  your  most  favourite  thoughts,  while  you 
must  feel  the  more  secure  and  tranquil  in  your  own 
vocation,  because  arrogant  ignorance  cannot  presume 
to  attack  you  behind  your  bulwarks  of  quaint  letters 
and  hieroglyphics.  They  must  at  least  first  be  able  to 
criticize  ; so  you  are  better  off  in  this  respect  than  we 
are,  against  whom  they  always  appeal  to  their  own 
paltry  conceptions. 


LETTER  TO  HIS  MOTHER. 


97 


I feel  like  a person  waking  drowsily.  I cannot  suc- 
ceed in  realizing  the  present,  and  there  is  a constant 
alternation  of  my  old  habitual  cheerfulness  and  the 
most  heartfelt  deep  grief,  so  that  I cannot  attain  to 
anything  like  steady  composure  of  mind.  In  the  mean 
time,  however,  I occupy  myself  as  much  as  possible, 
and  that  is  the  only  thing  that  does  me  good.  My 
position  here  is  of  the  most  agreeable  nature, — cordial 
people,  a good  orchestra,  the  most  susceptible  and 
grateful  musical  public ; only  just  as  much  work  to  do 
as  I hke,  and  an  opportunity  of  hearing  my  new  com- 
positions at  once.  I have  plenty  of  pleasant  society 
besides,  so  that  this  would  indeed  seem  to  be  all  that 
was  required  to  constitute  happiness,  were  it  not  deeper 
seated ! 

Farewell,  dear  friend,  and  do  not  forget  your 

Felix  Mendelssohn  Barthold y. 


To  HIS  Mother. 

Leipzig,  February  18th,  1836. 

Dear  Mother, 

I cannot  write  home  without  enclosing  a fbw  lines 
for  you,  and  thanking  you  a thousand  times  for  your 
dear  letter,  and  begging  you  to  write  to  me  as  often  as 
you  wish  to  make  me  very  happy.  I have  scarcely 
thanked  you,  and  Fanny,  and  Eebecca,  for  the  beautiful 
presents  you  sent  me  on  the  3d,  and  which  made  the 
day  so  pleasant  to  me.  The  leader  of  the  orchestra, 
when  I went  to  rehearsal  on  the  morning  of  that  day, 
9 


98 


Mendelssohn’s  letters. 


addressed  me  in  a complimentary  speech,  which  was 
very  gratifying,  and  when  we  sat  down  to  dinner  at 

S ’s,  I found  a silver  cup,  which  four  of  my  friends 

here  had  ordered  for  me  with  an  inscription  and  their 
names,  under  my  napkin.  All  this  was  welcome  and 
cheering.  In  the  evening,  when  I had  carefully  put 
away  your  store  of  linen,  and  placed  Kebecca’s  travel- 
ling case  beside  my  map  of  Grermany  and  the  keys  of 
my  trunk,  and  had  read  “Fiesco”  in  Fanny’s  book, 
which  I was  formerly  so  pleased  with  (but  now  less 
so),  then  I felt  considerably  older,  and  thought  of  Aunt 
Lette,  who  wrote  me  a note  on  my  twentieth  birth- 
day, which  began,  “ My  poor  Felix ! actually  ten  years 
hence  no  longer  a boy  I” 

I am  curious  to  learn  whether  Gusikow  pleased  you 
as  much  as  he  did  me.  He  is  quite  a phenomenon ; a 
famous  fellow,  inferior  to  no  virtuoso  in  the  world, 
both  in  execution  and  facility;  he  therefore  delights 
me  more  with  his  instrument  of  wood  and  straw,  than 
many  with  their  pianofortes,  just  because  it  is  such  a 
thankless  kind  of  instrument.  A capital  scene  took 
place  at  his  concert  here.  I went  out  to  join  him  in 
the  room  where  he  was,  in  order  to  speak  to  him  and 
compliment  him.  Schleinitz  and  David  wished  to  come 
with  me ; a whole  group  of  Polish  J ews  followed  in 
our  wake,  anxious  to  hear  our  eulogiums ; but  when 
we  came  to  the  side  room,  they  pressed  forward  sc 
quickly  that  David  and  Schleinitz  were  left  in  the  rear 
and  the  door  shut  right  in  their  faces ; then  the  Jews  ak 
stood  quite  still,  waiting  to  hear  the  compliments  Gu- 
sikow was  about  to  receive.  At  first  I could  not  speak 
for  laughing,  seeing  the  small  room  crammed  full  of 


ST.  CECILIA  ASSOCIATION. 


99 


these  bearded  fellows,  and  my  two  friends  shut  out.  It 
is  long  since  I so  much  enjoyed  any  concert  as  this,  for 
the  man  is  a true  genius. 

The  direction  of  the  St.  Cecilia  Association  at  Frank- 
fort-on-the-Main  had  been  confidentially  offered  to  me. 
I can  with  truth  say  that  it  caused  me  more  pain  than 
pleasure,  because  it  is  evident  from  this  that  Schelble’s 
return  is  considered  out  of  the  question.  If  it  really 
be  so  (which  I shall  take  care  to  ascertain),  I will  on 
no  account  accept  the  offer.  But  if  there  were  a pos- 
sibility of  improvement,  and  I could  in  any  degree  be 
ot  service  to  Schelble,  by  giving  an  impetus  to  his  In- 
stitute next  summer  (for  I hear  that  all  the  winter  it 
has  been  almost  dead),  and  if  he  could  resume  the  du- 
ties himself  next  winter,  I should  feel  real  pleasure  in 
doing  this  for  him,  even  if  all  my  travelling  projects 
were  to  be  overthrown.  For  once  it  would  be  doing  a 
real  service,  both  to  a friend,  and  to  the  cause  itself. 

And  now  I must  dress,  for  I am  going  to  direct  a 
concert.  Merk  is  here ; he  gives  a concert  next  Sun- 
day, where  I am  to  play  with  him  again : it  is  the 
seventh  time  this  winter,  but  I could  not  possibly  re- 
fuse; for  when  I see  my  old  companion  again,  the 
whole  autumn  of  1830  is  brought  before  my  eyes,  and 
our  music  at  Eskele’s,  our  playing  billiards  at  the 
Karnthner  Thor,  and  driving  to  Baden  in  a fiacre^  etc. 
Besides,  he  is  beyond  all  question  the  very  first  of  all 
living  violoncello-players.  Farewell,  dear  Mother. — 
Your 


Felix, 


100 


Mendelssohn’s  letters. 


To  HIS  Mother. 

Dusseldorf,  June  1 st,  1836. 

Dear  Mother, 

I hope  you  have  forgiven  my  long  silence.  There 
was  so  much  to  do,  both  before  and  during  my  journey 
here,  that  I was  scarcely  able  to  attend  even  to  the 
duties  of  the  passing  hour ; and  what  has  gone  on  here 
since  my  arrival*  you  know  better  than  if  I had  myself 
written,  for  I trust  Paul  and  Fanny  are  now  happily 
returned,  and  of  course  described  everything  verbally 
to  you. 

On  Saturday,  the  4th,  I am  to  go  to  Frankfort,  a 
week  hence  to  direct,  for  the  first  time,  the  St.  Cecilia 
Association.  To  be  sure,  my  charming  Swiss  projects, 
and  the  sea-baths  in  Grenoa,  have  thus  melted  into  air ; 
but  still  my  being  able  to  do  a real  service  to  Schelble 
and  his  undertaking  is  of  no  small  value  in  my  eyes. 
There  seemed  to  be  an  idea  that  the  St.  Cecilia  Asso- 
ciation would  be  dispersed,  and  Schelble  appeared  very 
much  to  dread  the  lukewarmness  of  the  members  during 
his  absence.  As  they  aU  hoped  and  believed  that  I 
could  prevent  this  by  my  presence,  I did  not  for  a mo- 
ment hesitate,  though  the  Frankfort  musicians  will  be 
desperately  astonished,  and  will  now  see  what  can  be 
done  w thin  eight  weeks.  Hiller,  whom  I like  so 
much,  is  by  chance  to  be  in  Frankfort  the  whole  time, 
which  will  be  a great  advantage  for  me. 

It  gives  me  peculiar  pleasure  to  be  able  to  write  to 


* He  alludes  to  the  Musical  Festival,  where  “ St.  Paul  ” was  per- 
formed for  the  first  time. 


ENGAGEMENT  AT  FRANKFORT. 


101 


you  that  I am  now  fairly  established  in  Germany,  and 
shall  not  require  to  make  a pilgrimage  into  foreign 
countries  to  secure  my  existence.  This,  indeed,  has 
only  been  evident  during  the  last  year,  and  since  my 
being  placed  at  Leipzig;  but  now  I have  no  longer 
any  doubts  on  the  subject,  and  think  there  is  no  want 
of  modesty  in  rejoicing  at  the  fact  and  mentioning  it 
to  you. 

The  manner  in  which  I was  received  on  my  journey, 
in  Frankfort,  and  afterwards  here,  was  all  that  a mu- 
sician could  desire ; and  although  this  may  mean  in 
reality  little  or  nothing,  still  it  is  a token  of  friendship 
wliich  is  always  gratifying ; and  I value  all  such  tokens, 
because  I am  well  aware  that  I have  taken  no  steps  to 
call  them  forth.  I therefore  almost  rejoice  when  you 
call  me  ‘Hhe  reverse  of  a charlatan,”  and  when  many 
things  fall  to  my  share  unasked  for,  about  which  others 
give  themselves  a great  deal  of  trouble ; for  I may  then 
venture  to  believe  that  I deserve  them.  I wish  only  I 
could  have  written  these  words  to  my  father,  for  he 
would  have  read  them  with  satisfaction.  But  his  dear- 
est wish  was  progress ; he  always  directed  me  to  press 
forwards,  and  so  I think  I am  doing  his  will  when  I 
continue  to  labour  in  this  sense,  and  endeavour  to 
make  progress  without  any  ulterior  views  beyond  my 
own  improvement.  Farewell,  dear  Mother. — Your 

Felix. 


9* 


102 


Mendelssohn’s  letters. 


To  Herr  Advocat  Conrad  Sohleinitz,  Leipzio. 

Cologne,  July  5th,  1836. 

Dear  Schleinitz, 

I have  in  vain  sought  a moment  of  leisure,  after  the 
Musical  Festival,  to  send  you  my  first  greeting  and  let- 
ter since  my  journey.  In  Dusseldorf  the  bustle  was 
great,  and  no  end  to  all  kinds  of  music,,/e^es,  and  re- 
creations, which  never  left  me  quiet  a moment.  I have 
been  staying  a day  here  to  revive  and  rest,  with  my 
old  President;*  and  as  evening  is  now  approaching, 
about  the  time  when  you  used  to  peep  into  my  room, 
I feel  an  impulse,  if  only  for  a moment,  to  shake  hands 
and  say  good-evening. 

You  would  certainly  have  been  for  some  time  well 
amused  and  delighted  with  the  Musical  Festival ; and, 
from  your  taking  so  friendly  an  interest  in  me  and  my 
“ St.  Paul,”  I thought,  a hundred  times  at  least,  during 
the  rehearsals,  what  a pity  it  was  that  you  were  not 
there.  You  would  assuredly  have  been  delighted  by 
the  love  and  good  will  with  which  the  whole  affair  was 
carried  on,  and  the  marvellous  fire  with  which  the 
chorus  and  orchestra  burst  forth, — though  there  were 
individual  passages,  especially  in  the  solos,  which  might 
have  annoyed  you.  I think  I see  your  face,  could  you 
have  heard  the  St.  Paul’s  aria  sung  in  an  indifferent, 
mechanical  manner,  and  I think  I hear  you  breaking 
loose  on  the  Apostle  of  the  G-entiles  in  a dressing- 
gown  ; but  then  I know  also  how  charmed  you  would 
have  been  with  the  ^^Mache  dich  auf,”  which  went 


* Verkeniua. 


COLOGNE  MUSICAL  FESTIVAL. 


103 


really  splendidly.  My  feelings  were  singular ; during 
the  w^hole  of  the  rehearsals  and  the  performance  I 
thought  httle  enough  about  directing,  but  listened 
eagerly  to  the  general  effect,  and  whether  it  went 
right  according  to  my  idea,  without  thinking  of  any- 
thing else.  When  the  people  gave  me  a flourish  of 
trumpets  or  applauded,  it  was  very  welcome  for  the 
moment,  but  then  my  father  came  back  to  my  mind, 
and  I strove  once  more  to  recall  my  thoughts  to  my 
work.  Thus,  during  the  entire  performance  I was  al- 
most in  the  position  of  a listener,  and  tried  to  retain 
an  impression  of  the  whole.  Many  parts  caused  me 
much  pleasure,  others  not  so;  but  I learnt  a lesson 
from  it  all,  and  hope  to  succeed  better  the  next  time  I 
write  an  oratorio. 

Felix  Mendelssohn  Bartholdy. 


Frankfort,  July  14th,  1836. 

Dear  Mother  and  dear  Rebecca, 

I have  just  received  your  affectionate  letters,  and 
must  answer  them  instantly,  for  indeed  I had  been 
eagerly  expecting  them  for  several  days  past,  during 
which  I have  done  nothing  but  lie  on  the  sofa  and  read 
Eckermann’s  “Conversations  with  Groethe,”  and  long 
for  letters  from  . home  which  I could  answer.  I am  as 
much  delighted  with  Eckermann  as  you  are,  my  dear 
Mother  and  Sister.  I feel  just  as  if  I heard  the  old 
gentleman  speaking  again,  for  there  are  many  things 
introduced  into  the  work  which  are  the  very  same 


104 


Mendelssohn’s  letters. 


words  I have  heard  him  use,  and  I know  his  tone  ana 
gestures  by  heart.  I must  say  that  Eckermann  is  not 
sufficiently  independent.  He  is  always  rejoicing  over 
“ this  important  phrase,  which  pray  mark  well.”  But 
it  must  be  admitted  that  it  was  a difficult  position  for 
the  old  man,  and  we  ought  to  be  grateful  to  him  for 
his  faithful  notices,  and  also  for  his  delicacy,  — a contrast 
to  Eiemer. 

Here  I am,  seated  in  the  well-known  corner  room 
with  the  beautiful  view,  in  Schelble’s  house,  he  and  his 
wife  being  gone  to  visit  his  property  in  Swabia,  and 
they  do  not  return  to  Frankfort  so  long  as  I am  here ; 
but  the  accounts  his  wife  has  sent  here  are  very  con- 
solatory, and  inspire  us  all  with  much  hope.  There  is 
no  one  living  in  this  house  but  Schelble’s  mother-in- 
law,  and  a maid-servant,  on  one  side, — and  myself, 
with  two  travelling-bags  and  a hat-box,  on  the  other. 
At  first  I was  unwilling  to  come  here,  owing  to  many 
remembrances,  but  now  I am  glad  that  I came.  A 
very  kind  reception,  an  excellent  grand  pianoforte, 
plenty  of  music,  entire  rest,  and  undisturbed  tranquilli- 
ty, are  all  things  which  are  nowhere  to  be  found  in  an 
inn ; and  I might  well  be  envied  the  view  from  my 
corner  window.  In  this  splendid  summer  weather  I 
see  all  down  the  Main,  with  its  numerous  boats,  rafts, 
and  ships,  the  gay  shore  opposite,  and,  above  all,  my 
old  favourite,  the  Wartthurm,  facing  the  south,  and  on 
the  other  side  the  blue  hills.  I came  here  with  plans 
for  great  industry,  but  for  nearly  a week  I have  done 
little  else  every  forenoon  but  admire  the  prospect  and 
sun  myself.  I must  go  on  in  the  same  way  for  a couple 
of  days  still, — idleness  is  so  pleasant,  and  agrees  with 


FRIENDS  AT  FRANKFORT. 


105 


me  so  well.  My  last  days  in  Diisseldorf,  and  my  first 
here,  were  crammed  so  full  that  I could  only  recover 
my  balance  by  degrees.  The  very  day  of  my  arrival 
here,  I had  to  direct  the  St.  Cecilia  Association ; then 
came  my  numerous  acquaintances,  old  and  new,  and 
the  arrangements  for  the  next  few  weeks.  I was 
obliged  to  take  a rest  after  all  this,  or  at  least  I said  so 
to  myself,  to  palliate,  and  furnish  a pretext  for,  my 
love  of  idleness.  The  St.  Cecilia  Association  went  on 
well,  and  they  were  very  friendly  ,*  I however  made  a 
speech  that  deserved  to  have  been  written  down.  We 
sang  some  things  from  “ Samson,”  and  some  from  the 
B minor  Mass  of  Bach.  There  was  much  worth  re- 
membering in  the  former.  The  Bach  went  almost 
faultlessly,  though  it  is  fully  twice  as  difficult ; and  so 
I had  a fresh  opportunity  of  admiring  how  Schelble,  by 
dint  of  his  admirable  tenacity,  has  succeeded  in  making 
his  will  obeyed.  I shall  not  be  able  to  do  much  for 
the  association.  Six  weeks  are  not  sufficient;  and, 
even  under  the  most  favourable  circumstances,  Schel- 
ble’s  physician  wishes  him  to  rest  the  whole  of  the  en- 
suing winter.  How  the  matter  will  proceed  then  we 
know  not.  All  the  musicians  here  think  too  much 
about  themselves,  and  too  little  about  their  work ; but 
we  shah  see  how  this  may  be,  and  what  we  have  now 
to  do  is  to  provide  for  the  intervening  time ; and  I re- 
joice to  be  able  in  this  respect  to  oblige  Schelble.  I 
must  say,  my  life  assumes  a most  agreeable  form  here. 
Hever  could  I have  thought  that  through  my  overtures 
and  songs  I could  have  become  such  a hon  with  the 
musical  world.  The  ‘‘Melusina’’  and  the  “Hebrides” 
are  as  famihar  to  them  as  to  us  at  home  (I  mean  Ho.  3, 


106 


Mendelssohn’s  letters. 


Leipziger  Strasse),  and  the  dilettanti  dispute  warmly 
about  my  intentions. 

Then  Hiller  is  here,  at  all  times  a delightful  sight  to 
me,  and  we  have  always  much  that  is  interesting  to 
discuss  together.  To  my  mind,  he  is  not  sufficiently 
— what  shall  I call  it  ? — one-sided.  By  nature  he  loves 
Bach  and  Beethoven  beyond  all  others,  and  would 
therefore  prefer  adopting  wholly  the  graver  style  of 
music ; but  then  he  is  much  delighted  also  with  Ros- 
sini, Auber,  Bellini,  etc.,  and  with  this  variety  of  tastes 
no  man  makes  real  progress.  So  this  forms  the  subject 
of  all  our  conversations  as  soon  as  we  see  each  other, 
and  it  is  most  agreeable  to  me  to  be  with  him  for  some 
time,  and,  if  possible,  to  lead  him  to  my  mode  of  think- 
ing. . . . Early  yesterday  I went  to  see  him,  and  whom 
should  I find  sitting  there  but  Rossini,  as  large  as  life, 
in  his  best  and  most  amiable  mood  ? I really  know 
few  men  who  can  be  so  amusing  and  witty  as  he, 
when  he  chooses ; he  kept  us  laughing  incessantly  the 
whole  time.  I promised  that  the  St.  Cecilia  Association 
should  sing  for  him  the  B minor  Mass,  and  some  other 
things  of  Sebastian  Bach’s.  It  will  be  quite  too 
charming  to  see  Rossini  obliged  to  admire  Sebastian 
Back ; he  thinks,  however,  different  countries,  different 
customs,”  and  is  resolved  to  howl  with  the  wolves.  He 
says  he  is  enchanted  with  Germany,  and  when  he  once 
gets  the  list  of  wines  at  the  Rhine  Hotel  in  the  even- 
ing, the  waiter  is  obliged  to  show  him  his  room,  or  he 
could  never  manage  to  find  it.  He  relates  the  most 
laughable  and  amusing  things  about  Paris  and  all  the 
musicians  there,  as  well  as  of  himself  and  his  com- 
positions, and  entertains  the  most  profound  respect  for 


ROSSINI. 


107 


all  the  men  of  the  present  day^ — so  that  you  might 
really  believe  him,  if  you  had  no  eyes  to  see  his  sar- 
castic face.  Intellect,  and  animation,  and  wit,  sparkle 
in  all  his  features  and  in  every  word,  and  those  who  do 
not  consider  him  a genius  ought  to  hear  him  expatiat- 
ing in  this  way,  and  they  would  change  their  opinion. 

I was  lately  with  S , also,  but  it  was  miserable 

to  hear  him  grumbling  and  abusing  everybody.  At 
last  he  vowed  that  all  men  were  nothing  but  a tire- 
some pack;  I answered  that  I considered  this  very 
modest  on  his  part,  as  I concluded  he  did  not  look  upon 
himself  as  an  angel  or  a demigod,  when,  quite  contrary 
to  my  expectations,  we  instantly  became  the  best  of 
friends,  and  he  ended  by  declaring  that,  after  all,  the 
world  pleased  him  very  well.  This  is  not  surprising, 
as  he  was  sitting  in  his  garden  in  the  country,  with  a 
beautiful  landscape  and  a lovely  view ; and  in  a region 
hke  this,  in  such  weather  and  under  such  a sky,  very 
little  fault  can  be  found  with  the  world.  The  scenery 
round  Frankfort  pleases  me  this  time  beyond  every- 
thing,— such  fruitfulness,  richness  of  verdure,  gardens 
and  fields,  and  the  beautiful  blue  hills  as  a background ! 
and  then  a forest  beyond;  to  ramble  there  in  the  even- 
ings under  the  splendid  beech-trees,  among  the  in- 
numerable herbs  and  flowers  and  blackberries  and 
strawberries,  makes  the  heart  swell  with  gratitude. 

Yesterday  afternoon  I visited  Andre  at  OiTenbach; 
he  sends  you  his  kind  regards,  and  is  the  same  fiery, 
eager  person  he  ever  was.  His  reception  of  me  was, 
however,  more  cordial  and  more  gratifying  than  that 
of  all  the  other  musicians;  he  really  does  somewhat 
resemble  my  father.  Is  it  not  singular  that  several 


108 


MENDELSSOHNS  LETTERS. 


persons  here  have  lately  said  to  me  that  I am  like 
what  Andre  was  in  his  younger  days  ? and  you  may 
remember  that  Tie  was  formerly  often  mistaken  for  my 
father.  He  scanned  me  closely  from  head  to  foot,  and 
said  I had  now  my  third  face  since  he  had  first  known 
me ; the  second  he  had  not  at  all  approved  of,  but  now 
he  liked  me  much  better.  The  conversation  then 
tnrned  on  counterpoint  and  Yoglea*,  and  he  attacked 
him  in  spite  of  Zelter,  and  dragged  forth  a couple  of 
folios  as  proof  on  his  side.  I could  not  prevail  on  my- 
self to  go  to  the  Rothschilds,  in  spite  of  their  very 
flattering  invitation.  I am  not  in  the  vein  or  humour 
at  present  for  balls  or  any  other  festivities,  and  like 
should  draw  to  like.”  At  the  same  time,  these  people 
really  cause  me  much  pleasure,  and  their  splendour 
and  luxury,  and  the  universal  respect  with  which  the 
citizens  here  are  forced  to  regard  them  all  (though  they 
would  gladly  assault  them  if  they  dared),  is  a real 
source  of  exultation,  for  it  is  all  owing  entirely  to  their 
own  industry,  good  fortune,  and  abilities.  The  15th 
has  actually  dawned ; this  is  a regular  chattering,  gos- 
siping letter. — Your  Felix. 


To  Rebecca  Dirichlet,  Berlin. 

Frankfort,  July  2d,  1836. 

. . . Such  is  my  mood  now  the  whole  day ; I can 
neither  compose  nor  write  letters,  nor  play  the  piano  ; 
the  utmost  I can  do  is  to  sketch  a little,*  but  I must 


♦ This  letter  was  written  a short  time  before  his  betrothal. 


COMPLETION  OF  ST.  PAUL.”  109 

thank  you  for  your  kind  expressions  about  ^‘St.  Paul;  ” 
such  words  from  you  are  the  best  and  dearest  that  I 
can  ever  hear,  and  what  you  and  Panny  say  on  the 
subject  the  public  say  also;  ...  no  other  exists  for  me. 
I only  wish  you  would  write  to  me  a few  times  more 
about  it,  and  very  minutely  as  to  my  other  music.  The 
whole  time  that  I have  been  here  I have  worked  at 
‘‘  St.  Paul,”  because  I wish  to  publish  it  in  as  complete 
a form  as  possible ; and,  moreover,  I am  quite  convinced 
that  the  beginning  of  the  first  and  the  end  of  the  se- 
cond part  are  now  nearly  three  times  as  good  as  they 
were,  and  such  was  my  duty ; for  in  many  points,  es- 
pecially as  to  subordinate  matters  in  so  large  a work,  I 
only  succeed  by  degrees  in  realizing  my  thoughts  and 
expressing  them  clearly;  in  the  principal  movements 
and  melodies  I can  no  longer  indeed  make  any  alter- 
ation, because  they  occur  at  once  to  my  mind  just  as 
they  are;  but  I am  not  sufficiently  advanced  to  say 
this  of  every  part.  I have  now,  however,  been  working 
for  rather  more  than  two  years  at  one  oratorio ; this  is 
certainly  a very  long  time,  and  I rejoice  at  the  approach 
of  the  moment  when  I shall  correct  the  proofs,  and  be 
done  with  it,  and  begin  something  else. 

I must  tell  you  of  the  real  delight  with  which  I 
have  read  here  the  first  books  of  Groethe’s  Wahrheit 
und  Dichtung.”  I had  never  taken  up  the  book  since 
my  boyhood,  because  I did  not  like  it  then  ; but  I can- 
not express  how  much  it  now  pleases  me,  and  how 
much  additional  pleasure  I take  in  it,  from  knowing  all 
the  localities.  One  of  its  pages  makes  me  forget  all 
the  miseres  in  literature  and  art  of  the  present  day. 
iO 


110 


Mendelssohn’s  letters. 


To  Eebeoca  Dirichlet,  Berlin, 

LeipKig,  January  8 th,  18  S7. 

. . . Last  Wednesday  there  was  a fete  at  the  Keils’, 
where  it  rained  Christmas  gifts  and  poems;  among 
others  I got  one,  celebrating  my  betrothal  in  a romantic 
vein  “ at  Frankfort-on-the-Zeil,”  and  which  was  much 
admired.  As  they  began  to  sing  songs  at  table,  and  I 
was  looking  rather  dismal,  Schleinitz  suddenly  called 
out  to  me  that  I ought  to  compose  music  for  my  ro- 
mance on  the  spot,  that  they  might  have  something 
new  to  sing,  and  the  young  ladies  bringing  me  a pencil 
and  music-paper,  the  request  amused  me  very  much, 
and  I composed  the  song  under  shelter  of  my  napkin ; 
while  the  rest  were  eating  cakes,  I wrote  out  the  four 
parts,  and  before  the  pine-apples  were  finished,  the 
singers  got  their  A note,  and  sang  it  to  such  perfection, 
and  so  con  amove  that  it  caused  universal  delight  and 
animated  the  whole  society. 


To  Ferdinand  Hiller. 

LeipBiK,  January  10th,  1837. 

...  You  once  extolled  my  position  here  because  I 
had  made  friends  of  all  the  G-erman  composers : quite 
the  reverse ; I am  in  bad  odour  with  them  all  this  win- 
ter. Six  new  symphonies  are  lying  before  me ; what 
they  may  be  God  knows  (I  would  rather  not  know) ; 
not  one  of  them  pleases  me,  and  no  one  is  to  blame  for 
this  but  myself.' who  allow  m^other  composer  to  come 


NEW  COMPOSITIONS. 


Ill 


before  the  public, — I mean  in  the  way  of  symphonies. 
Good  heavens!  should  not  these  Capellmeisters’’  be 
ashamed  of  themselves  and  search  their  own  breasts  ? 
But  that  detestable  artistic  pedantry,  which  they  all 
possess,  and  that  baneful  spark  divine  of  which  they  so 
often  read, — these  ruin  everything.  I sent  my  six 
preludes  and  fugues  to  the  printer’s  to-day  : I fear  they 
will  not  be  much  played;  still  I should  like  you  to 
look  over  them  once  in  a way,  and  to  say  if  any  of 
them  pleased  you,  or  the  reverse.  Next  month  three 
organ  fugues  are  to  be  published, — me  voild  perruque  ! 
Heaven  grant  that  some  spirited  pianoforte  piece  may 
occur  to  me,  to  efface  tliis  unpleasant  impression. 


To  Fanny  Hensel,  Berlin. 

Frankfort-a.-M.,  May  29th,  1837. 

This  is  but  a sorry  time  for  musicians.  Look  at  the 
St.  Cecilia  Association, — experienced  singers,  good  re- 
spectable people,  obliging  chiefs, — nothing  requisite 
but  a little  pianoforte  playing,  and  a little  good  will 
towards  music,  and  a little  knowledge ; neither  genius, 
nor  energy,  nor  pohtics,  nor  anything  else  very  par- 
ticular. I should  have  thought  that  fifty  people  at 
least  would  have  offered  themselves,  so  that  we  might 
have  had  a choice ; but  scarcely  two  have  come  for- 
ward whom  it  is  possible  to  appoint,  and  not  one  who 
is  capable  of  carrying  on  the  association  in  the  right, 
true,  and  noble  spirit  in  which  it  was  commenced, — 
that  is,  in  plain  German,  not  one  who  can  perceive  that 


112 


Mendelssohn’s  letters. 


Handel  and  Bach,  and  such  people,  are  superior  to 
what  they  themselves  can  do  or  say.  Heukomm,  in 
whom  I would  have  placed  most  confidence  in  this  re- 
spect, was  in  treaty  for  the  situation,  and  had  decidedly 
accepted  it,  and  now  all  of  a sudden  he  as  decidedly 
declines  it.  So  there  will  be  no  one  to  undertake  the 
affair  but  Ries,  who  will  probably  do  so,  but  unfortu- 
nately he  is  deficient  in  that  necessary  respect  for  the 
great  works  of  art  which  is,  and  always  will  be,  to  me, 
the  chief  consideration.  It  is  grievous  to  think  of  aU 
the  trouble  and  hard  work  which  it  cost  Schelble  to  lay 
a good  foundation,  and  now  the  end  is  that  it  will  be 
finally  broken  up.  People  here  are  highly  satisfied 
with  Hiller’s  mode  of  directing,  although  they  were  so 
troublesome  to  him  at  first ; but  two  months  hence  he 
goes  to  Italy,  being  resolved  not  to  stay  here;  and 
who  knows  that  this  may  not  be  the  very  reason  why 
they  all  now  regret  him  so  much  ! This  is  an  odious 
thing  in  the  world. 

It  has  just  occurred  to  me  that  if  you  wish  to  sing 
anything  during  the  next  few  months,  send  for  “ Theo- 
dora,” by  Handel,  and  look  it  over;  at  aU  events  it 
will  please  you,  as  there  are  some  splendid  choruses 
and  airs  in  it,  and  perhaps  you  might  manage  to  have 
it  translated  into  German  (which,  indeed,  ought  to  be 
very  much  better  done,  for  the  text  is  perfectly  absurd) 
and  perform  it  in  your  own  house,  with  a small  choir. 
Unluckily,  it  is  not  adapted  for  a performance  on  a 
large  scale ; but  some  parts  of  it,  the  final  chorus  for 
instance,  are  as  fine  as  anything  you  ever  heard  of 
Handel’s. 


PUBLICATION  OF  MUSIC. 


113 


To  HIS  Mother. 

Frankfort,  June  2d,  1837, 

. . You  write  to  me  about  Fanny’s  new  composi- 
tions, and  say  that  I ought  to  persuade  her  to  publish 
them.  Your  praise  is,  however,  quite  unnecessary  to 
make  me  heartily  rejoice  in  them,  or  think  them  charm- 
ing and  admirable*  for  I know  by  whom  they  are 
written.  I hope,  too,  I need  not  say  that,  if  she  does 
resolve  to  pubhsh  anything,  I will  do  all  in  my  power 
to  obtain  every  facility  for  her,  and  to  relieve  her,  so  far 
as  I can,  from  all  trouble  which  can  possibly  be  spared 
her.  But  to  persuade  her  to  publish  anything  I cannot, 
because  this  is  contrary  to  my  views  and  to  my  convic- 
tions. We  have  often  formerly  discussed  the  subject, 
and  I still  remain  exactly  of  the  same  opinion.  I 
consider  the  publication  of  a work  as  a serious  matter 
(at  least  it  ought  to  be  so),  for  I maintain  that  no  one 
should  publish  unless  they  are  resolved  to  appear  as  an 
author  for  the  rest  of  their  life.  For  this  purpose, 
however,  a succession  of  works  is  indispensable,  one  after 
another.  Nothing  but  annoyance  is  to  be  looked  for 
from  pubhshing,  where  one  or  two  works  alone  are  in 
question ; or  it  becomes  what  is  called  a “ manuscript 
for  private  circulation,”  which  I also  dislike ; and  from 
my  knowledge  of  Fanny  I should  say  she  has  neither 
mclination  nor  vocation  for  authorship.  She  is  too 
much  all  that  a woman  ought  to  be  for  this.  She  regu- 
lates her  house,  and  neither  thinks  of  the  public  nor  of 
the  musical  world,  nor  even  of  music  at  all,  until  her 
first  duties  are  fulfilled.  Pubhshing  would  only  disturb 
her  in  these,  and  I cannot  say  that  I approve  of  it.  I 
10* 


114 


Mendelssohn’s  letters. 


will  not,  therefore,  persuade  her  to  this  step : forgive 
me  for  saying  so.  If  she  resolves  to  publish,  either 
from  her  own  impulse  or  to  please  Hensel,  I am,  as  I 
said  before,  quite  ready  to  assist  her  so  far  as  I can  j 
but  to  encourage  her  in  what  I do  not  consider  right, 
is  what  I cannot  do. 


To  HIS  Mother. 


Bingen,  July  13th,  1837. 

Dear  Mother, 

We  have  been  here  for  the  last  eight  days,  having 
suddenly  left  Frankfort ; and,  as  it  is  nearly  decided  that 
we  are  to  reside  here  for  some  weeks,  I now  write  to 
thank  you  for  your  affectionate  letters. 

I feel  rather  provoked  that  Fanny  should  say  the 
new  pianoforte  school  outgrows  her : this  is  far  from 
being  the  case ; she  could  cut  down  all  these  petty  fel- 
lows with  ease.  They  can  execute  a few  variations  and 
tours  de  force  cleverly  enough,  but  all  this  facility,  and 
coquetting  with  facility,  no  longer  succeeds  in  dazzling 
even  the  public.  There  must  be  soul,  in  order  to  carry 
others  along  with  you ; thus,  though  I might  perhaps 

prefer  listening  to  D for  an  hour  than  to  Fanny 

for  an  hour,  still  at  the  end  of  a week  I am  so  tired 
of  him  that  I can  no  longer  listen  to  him,  whereas  then 
I first  begin  to  enjoy  hearing  the  other  style  of  play- 
ing, and  that  is  the  right  style.  All  this  is  not  more 
than  Kalkbrenner  could  do  in  his  day,  and  it  wiU  pass 
away  even  during  our  day,  if  there  be  nothing  better 


MODERN  PIANO  MUSIC.  115 

than  mere  execution ; but  this  Fanny  also  has : so  she 
has  no  cause  to  fear  any  one  of  them  all. 

The  view  from  these  windows  is  of  itself  well  worth 
a journey  here,  for  our  hotel  is  situated  close  to  the 
Khine,  opposite  hTiederwald, — the  Mausethurm  to  the 
left,  and  to  the  right  Johannisberg.  To-day  I have  at 
last  succeeded  in  borrowing  a piano  and  a Bible  ; both 
were  very  difficult  to  hunt  out,  first  because  the  people 
at  Bingen  are  not  musical,  and  secondly  because  they 
are  Catholics,  and  therefore  ignore  both  a piano  and 
Luther’s  translation;  however,  I have  at  length  pro- 
cured both,  and  so  I begin  to  feel  very  comfortable  here. 
I must  now  be  very  busy,  for  as  yoi;  I have  not  written 
out  a single  note  of  my  concerto,  and  yesterday  I heard 
from  Birmingham  that  the  Musical  Festival  is  all 
arranged,  and  they  are  in  hopes  that  Queen  Victoria 
will  be  present.  That  would  be  capital ! 

Old  Schadow  and  W.  Schadow  were  here  lately, 
along  with  their  families,  and  we  stumbled  upon  each 
other  quite  unexpectedly  in  the  entrance  hall.  I wish 
you  could  have  heard  the  description  the  old  man  gave 
of  Fanny’s  accompaniment  on  the  piano ; he  was  full 
of  enthousiasme^  and  most  excited  on  the  subject.  A 
sketch  also  of  the  seances  of  the  musical  section  of  the 
Academy  where  he  is  obliged  to  preside,  was  not  bad 
by  way  of  contrast;  except  Spontini,  no  one  either 
speaks  or  shows  any  signs  of  life  in  it,  for  which  there 
are  good  reasons. 

It  is  indeed  very  sad  to  see  the  way  in  which  the 
latter  contrives  to  irritate  all  Berlin  against  him, 
destroying  and  ruining  everything  and  yet  causing 
himself  only  vexation  and  anxiety  and  worry, — like  an 


IIG 


Mendelssohn's  letthrs. 


ill-assorted  marriage,  where  both  parties  are  in  the 
wrong  when  they  come  to  blows. 

Ask  Fanny,  dear  Mother,  what  she  says  to  my  inten- 
tion of  playing  Bach’s  organ  prelude  in  E flat  major  in 
Birmingham — 


and  the  fligue  at  the  end  of  the  same  book.  I suspect 
it  will  puzzle  me ; and  yet  I think  I am  right.  I have 
an  idea  that  this  very  prelude  will  be  peculiarly  accepta- 
ble to  the  English,  and  you  can  play  both  prelude  and 
fugue  'piano  and  pianissimo^  and  also  bring  out  the  full 
power  of  the  organ.  Faith!  I can  tell  you  it  is  no 
stupid  composition. 

I have  lately  determined  to  have  a new  oratorio  ready 
for  the  next  Diisseldorf  Musical  Festival ; two  years  are 
yet  to  come  before  then,  but  I must  stick  to  my  work. 
I will  write  about  the  text  as  soon  as  I have  decided 
on  the  subject.  I hear  nothing  of  Holtei  and  his  opera 
libretto,  and  so  I must  begin  a second  oratorio,  much 
as  I should  have  liked  to  write  an  opera  just  at  this 
moment.  I sadly  want  a true  thorough-going  man  for 
many  fine  projects ; whether  he  will  appear,  or  whether 
I am  mistaken,  I know  not,  but  hitherto  I have  never 
been  able  to  discover  him. 

I occupy  myself  continually  here  in  drawing  figures, 
but  I don’t  succeed  very  well.  From  want  of  practice 
this  winter,  I have  forgotten  what  I knew  much  better 
last  summer,  when  Schadow  gave  me  every  day  a short 
drawing-lesson  at  Scheveling,  and  taught  me  to  sketch 


NEW  PROJECTS. 


117 


peasants,  soldiers,  old  apple-women,  and  street  boys. 
Yesterday,  however,  I made  a drawing  of  Bishop  Hatto, 
at  the  moment  of  being  eaten  up  by  the  mice, — a 
splendid  subject  for  aU  beginners.  In  this  letter,  music, 
the  Eheingau,  and  gossip  go  hand-in-hand.  Forgive 
this,  dear  Mother.  It  is  the  same  in  real  life. 


To  Pastor  Julius  Schubring,  Dessau. 

Bingen-a.-R.,  July  14th,  1837. 

Dear  Schubring, 

I wish  to  ask  your  advice  in  a matter  which  is  of 
importance  to  me,  and  I feel  it  will  therefore  not  be 
indifferent  to  you  either,  having  received  so  many  proofs 
to  the  contrary  from  you.  It  concerns  the  selection  of 
a subject  of  an  oratorio,  which  I intend  to  begin  next 
winter.  I am  most  anxious  to  have  your  counsels,  as 
the  best  suggestions  and  contributions  for  the  text  of 
my  “ St.  Paul”  came  from  you. 

Many  very  apparent  reasons  are  in  favour  of  choos- 
ing St.  Peter  as  the  subject, — I mean  its  being  intended 
for  the  Diisseldorf  Musical  Festival  at  Whitsuntide,  and 
the  prominent  position  the  feast  of  Whitsunday  would 
occupy  in  this  subject.  In  addition  to  these  grounds,  I 
may  add  my  wish  (in  connection  with  a greater  plan 
for  a later  oratorio)  to  bring  the  two  chief  apostles  and 
pillars  of  the  Christian  Church  side  by  side  in  oratorios, 
— in  short,  that  I should  have  a ‘‘St.  Peter”  as  well  as 
a “ St.  Paul.”  I need  not  tell  you  that  there  are  suffi- 
cient internal  grounds  to  make  me  prize  the  subject, 


118 


MENDELSSOHNS  LETTERS. 


and  far  above  all  else  stands  the  outpouring  of  the 
Holy  Grhost,  which  must  form  the  central  point,  or 
chief  object.  The  question  therefore  is  (and  this  you 
can  decide  far  better  than  I can,  because  you  possess 
the  knowledge  in  which  I am  deficient,  to  guide  you) 
whether  the  place  that  Peter  assumes  in  the  BiUe^ 
divested  of  the  dignity  which  he  enjoys  in  the  Catholic 
or  Protestant  Churches,  as  a martyr,  or  the  first  Pope, 
etc.  etc., — whether  what  is  said  of  him  in  the  Bible  is 
alone  and  in  itself  sufficiently  important  to  form  the 
basis  of  a symbolical  oratorio.  For,  according  to  my 
feeling,  the  subject  must  not  be  treated  historically, 
however  indispensable  this  was  in  the  case  of  ‘^St. 
Paul.”  In  historic  handling,  Christ  must  appear  in  the 
earlier  part  of  St,  Peter’s  career,  and,  where  He  appears, 
St.  Peter  could  not  lay  claim  to  the  chief  interest.  I 
think,  therefore,  it  must  be  symbolical;  though  all  the 
historical  points  might  probably  be  introduced, — the 
betrayal  and  repentance,  the  keys  of  heaven  given  him 
by  Christ,  his  preaching  at  Pentecost— not  in  an  histori- 
cal, but  prophetic  fight,  if  I may  so  express  myself,  in 
close  connection. 

My  question  then  is,  whether  you  think  this  possible, 
or  at  least  so  far  possible,  that  it  may  become  an  im- 
portant and  personal  object  for  every  member  of  the 
community  ? — also,  whether  it  is  your  opinion,  that,  even 
if  actually  feasible,  it  should  be  carried  out  entirely  by 
means  of  Scriptural  passages,  and  what  particular  parts 
of  the  Bible  you  would  especially  recommend  for  the 
purpose  ? Lastly,  if  in  this  event  you  will  hereafter,  as 
you  previously  did,  make  a selection  of  certain  passages 
out  of  the  Bible,  and  send  them  to  me  ? 


ORATORIO  OF  “ ST.  PETER. 


119 


The  chief  thing,  however,  is  the  first  point,  for  I am 
still  in  the  dark  about  it ; in  fact,  about  the  possibility 
of  the  whole  undertaking : write  to  me  as  soon  as  you 
can  on  the  subject.  In  thinking  it  over,  my  first  idea 
was  that  the  subject  must  be  divided  into  two  parts : the 
first,  fi:om  the  moment  of  forsaking  the  fishermen’s 
nets  down  to  the  “ Tu  es  Petrus,”  with  which  it  must 
close : the  second  to  consist  of  the  Feast  of  Pentecost 
only;  from  the  misery  after  the  death  of  Christ  and 
repentance  of  Peter,  to  the  outpouring  of  the  Holy 
Ghost.* 

Forgive  me  for  assailing  you  so  suddenly  with  all 
this.  During  the  few  months  since  we  have  met,  I 
cannot  teU  you  what  a great  and  happy  change  has 
taken  place  in  me.t  I hope  you  will  come  and  stay 
with  us  next  winter,  and  pass  some  days  here ; then 
you  will  in  a short  time  see  for  yourself,  what  even  at 
any  length  I really  could  not  describe.  I intend  to  be 
in  Leipzig  again,  the  end  of  September,  and  till  then 
shall  remain  principally  here  on  the  Ehine,  or  at  Frank- 
fort. Pray  answer  me  soon,  if  only  by  a few  lines. — 
Your  F.  M.  B. 

* This  project  was  never  fulfilled,  but  the  letter  is  inserted,  as  it 
proves  the  deep  earnestness  with  which  Mendelssohn  treated  such 
subjects. 

t Mendelssohn’s  marriage. 


120 


Mendelssohn’s  letters. 


To  ms  Mother. 

Leipzig,  October  4fh,  1837. 

Dearest  Mother, 

It  ought  to  have  been  my  first  occupation  to  write 
to  you  as  soon  after  the  busy  time  of  the  last  few 
weeks  as  I had  some  leisure,  to  thank  you  for  so  many 
loving  letters.  I wished  also  to  let  you  know  of  our 
safe  arrival  here,  and  yet  two  days  have  elapsed  with- 
out the  possibility  of  doing  so.  I seize  the  early  morn- 
ing for  this  purpose,  or  people  will  again  come,  one 
succeeding  another  till  the  post  hour  is  passed,  which 
happened  yesterday  and  the  day  before.  I cannot  at 
this  time  attempt  to  describe  the  Birmingham  Musical 
Festival ; it  would  require  many  sheets  to  do  so,  and 
whole  evenings  when  we  are  once  more  together  even 
cursorily  to  mention  all  the  remarkable  things  crowded 
into  those  days.*  One  thing,  however,  I must  tell 
you,  because  I know  it  wiU  give  you  pleasure,  which 
is,  that  I never  had  such  brilliant  success,  and  can 
never  have  any  more  unequivocal  than  at  this  festival. 
The  applause  and  shouts  at  the  least  glimpse  of  me 
were  incessant,  and  sometimes  really  made  me  laugh ; 
for  instance,  they  prevented  my  being  able  for  long  to 
sit  down  to  the  instrument  to  play  a pianoforte  con- 
certo ; and  what  is  better  than  all  this  applause,  and  a 
sure  proof  of  my  success,  were  the  offers  made  to  me 
on  all  sides,  and  of  a very  different  tenor  this  time 
from  what  they  ever  were  before. 


* “ St.  Paul  ” was  performed  for  the  first  time  in  England  at  this 
FostivaL 


NEUKOMM. 


121 


I may  well  say  that  I now  see,  beyond  doubt,  that  all 
this  is  only  bestowed  on  me  because  in  the  course  of 
my  work  I do  not  in  the  least  concern  myself  as  to 
what  people  wish  and  praise  and  pay  for,  but  solely  as 
to  what  I consider  good,  so  I shall  now  less  than  ever 
allow  myself  to  be  turned  aside  from  my  own  path.  I 
therefore  peculiarly  rejoice  in  my  success,  and  I feel 
more  confident  than  ever,  that  not  the  smallest  effort 
shall  be  made  by  me  to  insure  success,  nor  indeed  ever 
has  been  made.  I had  besides  a very  striking  proof  of 
the  value  of  all  such  things,  in  the  manner  in  which 
iSTeukomm  was  on  this  occasion  received  in  Birming- 
ham. You  know  how  highly  they  honoured  and  really 
overvalued  him  formerly,  and  how  much  all  his  works 
were  prized  and  sought  after  here,  so  that  the  musi- 
cians used  to  call  him  the  king  of  Brummagem;'^ 
whereas  on  this  occasion  they  neglected  him  shame- 
fully, giving  only  one  short  composition  of  his  the  first 
morning  (the  worst  of  all),  and  the  pubHc  receiving 
him  without  the  slightest  attention ; this  is  really  dis- 
graceful in  those  men  who,  three  years  ago,  knew 
nothing  better  or  higher  than  Neukomm’s  music.  The 
only  thing  he  can  be  reproached  with  is,  that  three 
years  since  he  wrote  an  oratorio  for  the  Musical  Fes- 
tivtil,  where  effect  was  chiefly  studied.  The  huge 
organ,  the  choruses,  the  solo  instruments,  all  were 
introduced  on  purpose  to  please  the  audience,  and  peo- 
ple soon  find  this  out,  and  it  never  answers ; but  that 
they  should  treat  him  with  such  ingratitude  in  return, 
is  a fresh  proof  of  how  little  their  favour  is  to  be 


* A provincial  mode  of  pronouncing  “ Birminghain.'” 

11 


122  Mendelssohn’s  letters. 

relied  on,  and  what  the  fruits  of  it  are  when  sought 
after. 

I found  him,  as  usual,  most  amiable,  and  as  kind  as 
ever,  and  may  well  take  example  from  him  in  a hun- 
dred things.  I never  met  with  any  one  who  combined 
greater  integrity,  with  calmness  and  refinement,  and 
he  is  indeed  a steady,  true  friend. 

I send  you  a complete  programme  of  the  Musical 
Festival.  Imagine  such  a mass  of  music  I and,  besides 
this  prodigious  pile,  the  various  acquaintances  who 
came  flocking  thither  at  that  time ; a man  must  be  as 
cold-blooded  as  a fish  to  stand  all  this.  Immediately 
after  I had  played  the  last  chord  on  the  splendid  organ, 
I hurried  off  to  the  Liverpool  mail,  and  travelled  six 
days  and  five  nights  in  succession,  till  I arrived  in 
Frankfort  to  rejoin  my  family.  The  mail  goes  to  Lon- 
don in  ten  hours  and  a half,  exactly  the  same  distance 
as  between  this  and  Berlin ; I calculated  that  on  my 
journey,  and  envied  the  English  on  this  account.  I 
arrived  in  London  towards  midnight,  where  I was  re- 
ceived by  Klingemann,  and  we  went  together  to  the 
Committee  of  the  Sacred  Harmonic  Society,  who  for- 
mally presented  to  me  a large  solid  silver  box,  with  an 
inscription.  At  half-past  twelve  o’clock  I was  again  in 
the  mail,  and  at  Dover  next  morning  at  nine,  when 
there  was  no  time  even  for  breakfast,  as  I was  obliged 
to  go  off  directly  to  the  small  boat  which  conveyed  us 
to  the  steamboat,  for  being  low  water  it  could  not  re- 
main in  the  harbour,  so  I was  already  sea-sick  when  I 
reached  the  ship,  had  a miserable  passage,  and,  instead 
of  arriving  at  Calais  in  three  hours,  we  were  five  hours 
before  landing  at  Boulogne,  and  just  so  much  further 


FRENCH  AND  BELGIAN  DILIGENCES. 


123 


from  Frankfort.  I went  to  the  Hotel  Meurice,  where 
I made  myself  as  comfortable  as  I could,  and  set  off  at 
nine  at  night  in  the  diligence  to  Lille.  This  is  the  mo- 
ment (however  furious  Dirichlet  may  be)  to  impress  on 
you  that  French  and  Belgian  diligences,  with  their 
glass  windows,  on  a paved  chaussee^  with  their  three 
clumsy  horses  in  front,  whose  tails  are  tied  up,  and 
who  do  not  go  forwards  but  slowly  creep,  are  the 
most  utterly  detestable  means  of  being  expedited  in 
the  whole  world,  and  that  a G-erman  Schnell-post  is  a 
hundred  times  pleasanter,  quicker,  and  better  than 
these  utterly  detestable,  etc.,  vide  supra.  The  Septem- 
ber days  were  being  celebrated  all  over  Belgium,  and 
trees  of  hberty  erected  in  the  squares  in  front  of  the 
town-halls.  I arrived  at  Cologne  at  ten  o’clock  in  the 
morning ; a steamboat  was  to  sail  at  eleven,  and  to  go 
on  through  the  night,  so  I took  my  place  in  it,  rejoicing  to 
be  able  to  lie  down  full  length  on  this  the  fifth  night, 
and  free  from  the  rattle  of  the  pavement.  I fell  asleep 
about  nine,  and  did  not  wake  till  two  in  the  morning, 
when  I perceived  that  the  steamboat  was  not  moving, 
and  in  answer  to  my  questions  I was  told  that  the  fog 
was  so  thick  (as  on  the  previous  day)  that  it  would  be 
impossible  to  set  off  again  at  all  events  before  six 
o’clock  the  same  evening,  and  we  should  not  arrive  in 
Mayence  till  six  at  night.  The  steamer  was  lying-to 
quite  close  to  Horchheim,  so  I hired  two  sailors  to  go 
with  me  to  carry  my  things ; I showed  them  the  old 
familiar  footpath  by  the  side  of  the  Rhine,  got  to  Co- 
blenz at  three  o’clock  in  the  morning,  took  post-horses, 
and  was  at  Frankfort  on  Wednesday  afternoon  at  half 
past  three  o’clock.  I found  them  all  well,  and  we  havft 


124 


Mendelssohn’s  letters. 


since  made  out  our  journey  famously,  from  Thursday 
afternoon  till  Sunday  at  two  o’clock,  when  we  arrived 
here. 

The  first  subscription  concert  began  at  six  o’clock 
the  same  evening.  I directed  the  “ Jubilee  ” overture 
and  the  C minor  symphony,  but  the  trombones  and 
drums  were  so  noisy  that  at  the  end  of  the  concert  I 
own  I felt  rather  caput.  These  were  fourteen  of  the 
most  crowded  days  any  one  could  imagine ; but,  as  I 
lived  so  entirely  for  enjoyment  and  pleasure  the  whole 
of  last  summer,  I am  glad,  just  before  my  return  here, 
to  have  had  such  a busy  time,  and  one  so  important  for 
my  vocation.  It  is  quite  too  lovely  here,  and  every 
hour  of  my  new  domestic  life  is  like  a festival;  whereas 
in  England,  notwithstanding  all  its  honours  and  pleas- 
ures, I had  not  one  single  moment  of  real  heartfelt  en- 
joyment; but  now  every  day  brings  only  a succession 
of  joy  and  happiness,  and  I once  more  know  what  it 
is  to  prize  fife.  Have  I not  entered  into  as  many 
minute  details  about  myself  as  if  I were  some  sickly 
potentate,  dear  Mother  ? — Your 

Felix. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  October  29th,  1837. 

Dear  Brother, 

First  of  all,  my  most  cordial  congratulations  on  the 
day  when  this  letter  will  reach  you ; may  you  pass  it 
happily,  and  may  it  prove  a good  harbinger  of  the 
coming  year.  You  mention  in  your  letter  of  yesterday, 


DESIRE  FOR  REPOSE, 


125 


that  your  quiet,  settled,  and  untroubled  position  some- 
times makes  you  almost  anxious  and  uneasy;  but  I 
cannot  think  you  right  in  this  feeling ; as  little  as  if 
you  were  to  complain  of  the  very  opposite  extreme. 
Why  should  it  not  be  sufficient  for  a man  to  know  how 
to  secure  and  to  enjoy  his  happiness  ? I cannot  be- 
lieve that  it  is  at  all  indispensable  first  to  earn  it  by 
trials  or  misfortunes ; in  my  opinion,  heartfelt  grateful 
acknowledgment  is  the  best  Poly  crates’  ring;  and 
truly  in  these  days  it  is  a difficult  problem  to  acknovv^- 
ledge  and  to  enjoy  good  fortune,  and  other  blessings, 
in  such  a manner  as  to  share  them  with  others,  thus 
rendering  them  cheerful  and  glad  also,  and  showing, 
too,  that  the  difference  is  equally  great  between  this 
and  idle  arrogance.  It  is  singular  that  in  my  position 
I might  complain  of  the  very  reverse  of  what  troubles 
you ; the  more  I find  what  are  termed  encouragement 
and  recognition  in  my  vocation,  the  more  restless  and 
unsettled  does  it  become  in  my  hands,  and  I cannot 
deny  that  I often  long  for  that  rest  of  which  you  com- 
plain. So  few  traces  remain  of  performances  and  mu- 
sical festivals,  and  all  that  is  personal ; the  people  in- 
deed shout  and  applaud,  but  that  quickly  passes  away, 
without  leaving  a vestige  behind,  and  yet  it  absorbs  as 
much  of  one’s  fife  and  strength  as  better  things,  or  per- 
haps even  more ; and  the  evil  of  this  is,  that  it  is  im- 
practicable to  come  half  out,  when  you  are  once  in  ; 
you  must  either  go  on  the  whole  way,  or  not  at  all.  I 
dare  not  even  attempt  to  withdraw,  or  the  cause  which 
I have  undertaken  will  suffer,  and  yet  I would  gladly 
see  that  it  was  not  merely  my  cause,  but  considered  a 
good  and  universal  one.  But  this  is  the  very  point 
11* 


19.6 


Mendelssohn’s  letters. 


where  people  are  wanting  to  pursue  the  same  path, — 
not  an  approving  pubhc  (for  that  is  a matter  of  indiffer- 
ence), but  fellow-workers  (and  they  are  indispensable) . 
So  in  this  sense  I long  for  a less  busy  life,  in  order  to 
be  able  to  devote  myself  to  my  peculiar  province,  com- 
position of  music,  and  to  leave  the  execution  of  it  to 
others.  It  seems,  however,  that  this  is  not  to  be ; anc 
I should  be  ungrateful  were  I dissatisfied  with  my  lifi 
as  it  is. 

Fanny  will  probably  give  you  to-morrow  the  parts 
of  my  new  quartett  from  me.  Whether  it  will  please 
you  or  not  is  uncertain ; but  think  of  me  when  you 
play  it  and  come  to  any  passage  which  is  peculiarly  in 
my  style.  How  gladly  would  I have  given  you  some- 
thing better  and  prettier  in  honour  of  youT  birthday ! 
but  I did  not  know  what  to  send. 

Yesterday  evening  my  C minor  quartett  was  played 
in  public  by  David,  and  had  great  success.  They  were 
made  to  play  the  scherzo  twice,  and  the  adagio  pleased 
the  audience  best  of  all,  which  caused  me  very  great 
astonishment.  In  a few  days  I mean  to  begin  a new 
quartett,  which  may  please  me  better.  I also  intend 
soon  to  compose  a sonata  for  violoncello  and  piano  for 
you, — by  my  beard,  I will ! 

And  now  farewell : tiU  our  happy,  happy  re  eeting  id 
February. — Y our 


Felix. 


RECOLLECTIONS  OF  ITALY. 


127 


To  Ferdinand  Hiller,  Milan. 

Leipzig,  Deceraoer  10th,  1837. 

My  dear  Ferdinand, 

You  have  written  to  me  in  spite  of  my  want  of 
punctuality  last  month,  for  which  I am  heartily  grate- 
ful, though  I really  could  scarcely  have  hoped  it.  The 
arrangement  of  a new  house,  taking  possession  of  it, 
the  numerous  concerts  and  affairs,  in  short,  all  the 
various  hindrances,  of  whatever  nature,  that  a steady- 
going  civilian  hke  myself  can  venture  to  enumerate  to 
a joyous,  lively  Italian  like  you, — my  installation  as 
master  and  tenant  of  the  mansion,  music  director  of  the 
subscription  concerts, — all  these  things  prevented  my 
being  a punctual  correspondent  last  month.  But  for 
that  very  reason  I wished  to  entreat  of  you,  and  now 
do  so  right  heartily,  even  amid  the  vast  difference  in 
our  position,  and  the  objects  that  surround  us,  let  us 
steadily  adhere  to  our  promise  to  write  monthly  letters. 
I think  it  would  be  a source  of  great  interest  and  bene- 
fit to  both,  to  hear  from  each  other  now,  when  we 
must  mutually  appear  so  desperately  outlandish, — 
though  for  this  very  reason  nearer  than  ever.  I at 
least,  when  I think  of  Milan,  and  Liszt,  and  Kossini, 
have  a singular  feeling  in  knowing  that  you  are  in  the 
midst  of  them  aU;  and  probably  you  feel  the  same, 
when,  in  the  plains  of  Lombardy,  you  think  of  Leipzig 
and  of  me.  But  next  time  you  must  really  write  me  a 
long  minute  letter,  full  of  details  j you  do  not  know 
how  much  they  interest  me  ; you  must  tell  me  where 
you  are  living,  and  what  you  are  writing,  and  all  about 
Liszt,  and  Pixis,  and  Rossini ; about  the  white  Duomo 


128 


Mendelssohn’s  letters. 


and  the  Corso.  I do  dearly  love  that  bright  land,  and 
when  you  write  to  me  from  thence  I love  it  more  than 
ever.  You  are  not  to  halve  your  sheet  of  paper.  Above 
all,  tell  me  if  you  amuse  yourself  there  as  thoroughly 
and  divinely  as  I did.  Do  so,  I beg,  and  inhale  the  air 
with  the  same  delight,  and  idle  away  your  days  as  de- 
liberately as  I did.  But  why  say  all  this?  you  are 
sure  to  do  so  at  all  events.  But  pray  do  write  me  about 
it  at  full  length.  Do  you  wish  to  know  whether  I like 
this  as  much  as  ever  ? When  I am  living  as  a married 
man  in  a pretty,  new,  comfortable  house,  with  a fine 
view  over  gardens  and  fields,  and  the  towers  of  the 
city,  and  feel  so  comfortable  and  happy,  so  glad  and  so 
peaceful,  as  I have  never  done  since  I quitted  the 
parental  roof;  when,  in  addition  to  this,  I have  good 
means,  and  good  will  on  every  side,  I ask  you  how  I 
can  be  otherwise  than  happy?  If  I am  to  hold  any 
situation,  this  is  the  best;  but  there  are  many  days 
when  I think  that  to  have  no  fixed  situation  would  be 
best,  after  all.  Directing  so  perpetually  during  two 
such  months,  takes  more  out  of  me  than  the  two  years 
when  I was  composing  all  day  long.  I can  scarcely 
ever  compose  here  in  winter,  and  when  I ask  myself, 
after  the  greatest  excitement,  what  has  really  occurred, 
it  is  in  fact  scarcely  worth  naming ; at  least  it  does  not 
interest  me  much  whether  the  acknowledged  good 
works  are  given  a degree  oftener,  or  a degree  better, 
or  not.  The  only  things  that  interest  me  are  new  com- 
positions, and  of  these  there  is  a great  lack;  often 
therefore  I feel  as  if  I should  like  to  retire  altogether, 
and  not  conduct  any  longer,  but  only  write ; and  yet 
such  a regular  musical  life,  and  the  duty  of  directing  it, 


neukomm’s  music. 


129 


has  a certain  charm  too.  What  care  you  for  this  in 
Milan  ? and  still  I must  write  it  if  you  wish  to  know 
how  I like  my  position  here.  I felt  just  the  same  in 
Birmingham  ; I never  made  such  a decided  effect  with 
my  music  as  there,  and  never  saw  the  public  so  much 
or  so  exclusively  occupied  with  myself  individually, 
and  yet  there  is  even  in  this  something — what  shall  I 
call  it? — fleeting  and  evanescent,  which  I find  iiksome 
and  depressing,  rather  than  cheering.  Would  that 
there  had  not  been  an  instance  of  the  exact  reverse  of 
all  these  enthusiastic  praises,  with  regard  to  Neukomm, 
whom  they  on  this  occasion  criticized  so  disdainfully, 
and  received  with  as  much  coldness  and  neglect,  in 
fact  set  aside  as  completely,  as  three  years  ago  they 
extolled  him  to  the  skies,  when  they  placed  him  above 
all  other  composers  and  applauded  him  at  every  step. 
Of  what  value,  then,  is  their  favour?  You  wiU,  no 
doubt,  say  that  Neukomm’s  music  is  not  worth  much, — 
there  we  quite  agree ; but  those  who  were  formerly 
enchanted  with  it,  and  now  give  themselves  such  airs, 
don’t  know  this.  The  whole  thing  made  me  feel  most 
indignant,  while  Neukomm’s  calm  and  perfectly  in- 
different demeanour  appeared  to  me  the  more  admirable 
and  dignified,  when  contrasted  with  the  others,  and  I 
like  him  better  than  ever  since  this  manly  conduct. 


130 


Mendelssohn’s  lettepwS. 


To  Edouard  Franck,  Breslau. 

{Now  Director  of  the  Berne  Gonservatorium,) 

Leipzig,  January  8th,  1838. 

I did  not  receive  your  letter  of  the  25tli  of  October 
till  two  days  ago,  and  at  the  same  time  a splendid  copy 
of  your  “ Etudes.”  I was  afraid  you  had  given  up  thr 
completion  of  the  work,  as  it  was  so  long  since  I had 
heard  anything  of  it ; I was  therefore  the  more  agree- 
ably surprised  by  its  arrival.  You  wish  me  to  give 
you  an  opinion  about  the  compositions  themselves ; bu*c 
you  are  well  aware  how  superfluous  I consider  all  such 
criticisms,  whether  of  my  own  or  of  others;  to  go  on 
working  I consider  the  best  and  only  thing  to  do,  anct 
when  friends  urge  this  af^e'  every  fresh  work,  theiv 
doing  so  in  itself  contains  a kind  of  verdict.  I believe 
that  no  man  ever  yet  succeed/"  d in  controlling  and  com- 
manding the  minds  of  others  by  one  work ; a successioi\ 
of  works  all  aiming  at  one  point  can  alone  do  it.  Such 
then  is  your  function,  and  the  duty  which  Grod  has  im- 
posed on  you  by  the  talents  he  has  given  you.  Fulfil 
it,  then ; I believe  that  the  happiness  of  life  lies  entirely 
on  this,  and  cannot  be  attained  without  it,  and  the 
omission  would  be  a very  great  sin. 

Thus  the  wish  that  you  may  go  forward  on  your 
path,  and  pursue  your  labours,  is  the  sole  criticism  I 
have  at  present  to  send  you  of  your  work. 

We  have  already  discussed  most  of  the  details;  there 
are  no  faults,  and  you  are  master  of  your  tools ; but 
continue  to  use  them  more  and  more,  as  I have  already 
said. 


RHENISH  MUSICAL  FESTIVAL. 


131 


No  doubt,  you  can  almost  imagine  you  bear  me  say- 
ing all  this,  and  at  last  I shall  appear  to  you  in  the 
light  of  a lasso  ostinato^  who  is  perpetually  growling, 
and  ends  by  being  tiresome  beyond  measure ; for  in- 
stead of  expressing  my  thanks,  I begin  the  old  song  all 
over  again,  but  still  I am  not  deficient  in  gratitude 
either,  and  I wish  to  tell  you  so  again  and  again  in  my 
very  best  manner.  Write  to  me  soon  and  at  length 
(or  rather  by  music,  which  says  all  things)  ; you  know 
what  sincere  pleasure  every  letter  of  yours  causes  me. 
Farewell,  and  once  more  accept  my  thanks  for  the 
gratification  you  have  bestowed  on  me,  and  doubtless 
on  many  others,  by  your  first  work. — am,  with 
esteem,  yours, 

Felix  Mendelssohn  Bartholdy. 


To  THE  Hon.  Committee  of  this  year’s  Lower  Rhine 
Musical  Festival. 

Leipzig,  January  18th,  1838. 

I am  deeply  grateful  for  the  invitation  contained  in 
your  letter  of  the  8th  of  January.  Your  kind  remem- 
brance is  not  less  prized  by  me  than  the  prospect  of 
again  attending  such  a pleasant  festival,  and  deriving 
from  it  as  much  enjoyment  as  that  for  which  I have  al- 
ready to  thank  the  Rhenish  Musical  Festivals.  I there- 
fore accept  your  invitation  with  sincere  delight,  if  Grod 
grants  health  to  me  and  mine,  and  if  we  can  mutually 
agree  on  the  selection  of  the  music  to  the  full  satisfac- 
tion of  both  parties.  The  more  successful  the  previous 


132 


Mendelssohn’s  letters. 


Cologne  festival  was  with  regard  to  the  arrangement  of 
the  pieces  performed,  especially  in  Handel’s  work  with 
the  organ,  the  more  important  it  seems  to  me  to  have 
at  least  one,  piece  in  the  programme  by  which  this 
year’s  festival  may  be  distinguished  from  others,  and 
by  means  of  which  progress  may,  as  far  as  possible,  be 
manifested.  For  this  purpose  I consider  it  absolutely 
necessary  to  have  the  name  of  Sebastian  Bach  in  the 
programme,  if  only  for  one  short  piece ; for  it  is  cer- 
tainly high  time  that  at  these  festivals,  on  which  the 
name  of  Handel  has  shed  such  lustre,  another  immortal 
master,  who  is  in  no  one  point  inferior  to  any  master, 
and  in  many  points  superior  to  all,  should  no  longer  be 
forgotten.  The  same  scruples  which  exist  in  opposi- 
tion to  this  must  also  have  existed  in  former  years  with 
regard  to  the  works  of  Handel,  and  you  are  all  grateful 
to  those  who,  disregarding  these  obstacles,  revealed  to 
you  such  treasures  of  sublimity  and  elevation.  Earn 
for  yourself,  then,  similar  thanks  from  the  Ehenish 
friends  of  music  by  making  a beginning  which  is  in- 
deed difficult  (for  this  I do  not  deny)  and  must  be  pro- 
ceeded with  cautiously,  but  which  will  certainly  be 
attended  with  the  best  results  and  universally  imitated 
by  others.  When  anything  of  Bach’s  has  been  once 
performed,  it  will  be  easy  to  discover  that  it  is  beauti- 
ful, and  to  perform  it  again;  but  the  difficulty  is  the 
beginning.  The  proposal  that  I wish  to  make  to  you 
on  this  subject  is,  to  introduce  into  this  Musical  Festi- 
val a short  Psalm  of  Bach’s  (about  twenty  minutes  or 
half  an  hour  in  length),  and  if  you  are  afraid  of  doing 
this  on  the  second  day,  from  the  dread  of  scaring  away 
the  public,  whom  this  learned  name  might  alarm,  then 


RHENISH  MUSICAL  FESTIVAL. 


133 


do  so  on  the  first  day,  and  give  in  addition  a rather 
shorter  oratorio  of  Handel’s.  It  is  pretty  certain  that 
no  fewer  people  wiU  come  to  hear  Handel,  for  those 
who  do  not  fear  the  one  will  be  equally  disposed  to 
like  the  other,  and  there  are  still  three  or  four  totally 
unknown  and  truly  admirable  oratorios  of  his,  which 
would  not  occupy  more  than  an  hour  and  a half,  or 
scarcely  two  hours  at  most,  and  would  be  a welcome  no- 
velty to  all  lovers  of  music.  I became  first  acquainted 
with  these  works  by  the  splendid  gift  of  the  previous 
committee,*  and  I shall  be  very  glad  if  you  can  derive 
any  benefit  from  these  volumes  for  this  year’s  festival. 
With  regard  to  the  second  day,  I may  first  inquire 
whether  you  intend  to  apply  to  Cherubini  for  his  grand 
“ Requiem;”  it  must  be  translated,  and  is  entirely  for 
men’s  voices,  but  as  it  will  only  last  an  hour,  or  even 
less,  that  would  not  much  matter,  and  according  to  the 
universal  verdict  it  is  a splendid  work.  At  present, 
however,  the  chief  object  seems  to  me  to  be  the  first 
point  in  this  letter,  and  I therefore  beg  you  will  ar- 
range about  it  as  soon  as  possible. 


To  Rebecca  Dirichlet. 

Leipzig,  February,  1838. 

...  In  our  concerts  we  are  playing  a great  deal  of 
what  is  called  historical  music,  so  in  the  last  but  one 
we  had  the  whole  of  Bach’s  suite  in  D major,  some  of 


* See  Letter  of  October  6th,  1835. 
12 


134 


Mendelssohn’s  letters. 


Handox  and  Gluck,  etc.  etc.,  and  a violin  concerto  of 
Viotti’s ; in  the  last  of  all,  Haydn,  Eighini,  Haurnann, 
etc. ; and  in  conclusion  Haydn’s  “Farewell  Symphony,” 
in  which,  to  the  great  delight  of  the  public,  the  musi- 
cians literally  blew  out  their  lights,  and  went  away  in 
succession  till  the  violinists  at  the  first  desk  alone  re- 
mained, and  finished  in  P sharp  major.  It  is  a curious, 
melancholy  little  piece.  We  previously  played  Haydn’s 
trio  in  C major,  when  all  the  people  were  filled  with 
amazement  that  anything  so  beautiful  should  exist; 
and  yet  it  was  very  long  ago  published  by  Breitkopf 
and  Hartel.  The  next  time  we  have  Mozart,  whose  C 
minor  concerto  I am  to  play,  and  we  are  also  to  have  a 
quartett  of  his  for  the  first  time  from  his  unfinished 
opera,  “ Zaide.”  Then  comes  Beethoven,  and  two  con- 
certs remain  for  every  possible  kind  of  modern  compo- 
sition, to  make  up  the  full  number  of  twenty. 

Yesterday  evening  we  thought  much  of  you.  At  a 
late  hour,  when  I had  finished  writing,  I read  aloud 
“Hausikaa”  to  Cecile,  in  Yoss’s  translation,  repeating 
to  her  at  the  end  of  every  ten  verses  the  profound 
philological  remarks  which  you  made  when  we  used 
to  read  it  together  during  our  Greek  lesson,  and  which 
now  recurred  to  me  in  hundreds.  Moreover,  this  poem 
is  really  irresistible  when  it  becomes  sentimental.  I 
always  felt  an  inclination  to  set  it  to  music,  of  course 
not  for  the  theatre,  only  as  an  epic,  and  this  whole  day 
I feel  renewed  pleasure  in  the  idea ; but  is  anything  at 
this  moment  to  be  done  with  German  poets?  Last 
week  four  opera  libretti  were  sent  to  me,  each  one  more 
ridiculous  than  the  other  ; the  only  result  is  to  make 
enemies  for  myself.  I therefore  write  instrumental 


SERENADE  AND  ALLEGRO  GIOJOSO.  135 

music,  and  long  for  the  unknown  poet,  who  perhaps 
lives  close  to  me  or  at  Timbuctoo, — who  knows  ? • . . 


To  HIS  Family. 


Leipzig,  April  2d,  1838. 

. . . This  evening  Madame  Botgorscheck’s  concert 
takes  place, — an  excellent  contralto  singer,  who  perse- 
cuted me  so  much  to  plaj,  that  I agreed  to  do  so,  and 
it  did  not  occur  to  me  till  afterwards  that  I had  nothing 
either  short  or  suitable  to  play,  so  I resolved  to  com- 
pose a rondo,  not  one  single  note  of  which  was  written 
the  day  before  yesterday,  but  which  I am  to  perform 
this  evening  with  the  whole  orchestra,  and  rehearsed 
this  morning.*  It  sounds  very  gay ; but  how  I shall 
play  it  the  gods  alone  know, — indeed  hardly  they,  for 
in  one  passage  I have  marked  a pause  of  fifteen  bars 
in  the  accompaniment,  and  have  not  as  yet  the  most 
remote  idea  what  I am  to  introduce  during  this  time. 
Any  one,  however,  who  plays  thus  en  gros  as  I do,  can 
get  through  a good  deal.  . . . 


To  A,  SiMROCK,  Bonn. 

Berlin,  July  10th,  1838. 

In  recommencing  our  correspondence,  I must  first  of 
all  thank  you  for  the  great  friendliness  you  showed 


* It  appeared  afterwards  under  the  title  of  ‘‘  Serenade  and  Allegro 
Giojoso,”  Op.  43. 


Mendelssohn’s  letters. 


lae 

towards  me  in  Cologne.  It  is  the  first  time  that  any 
publisher  ever  assured  me  of  his  satisfaction  at  the 
success  of  my  compositions ; this  occurrence  would  in 
itself  have  been  a source  of  lively  gratification  to  me, 
but  it  is  much  enhanced  by  the  kind  and  flattering 
manner  in  which  you  manifest  your  satisfaction,  and 
for  which  I shall  ever  feel  indebted  to  you.  From  the 
time  of  your  first  letter  about  St.  Paul,”  in  which  you 
expressed  a wish  to  have  it  for  your  house,  when  I had 
not  yet  thought  of  publication  at  all,  much  less  of  suc- 
cess,— also  during  the  period  of  its  being  printed,  with 
its  manifold  alterations  and  interpolations,  up  to  the  pre- 
sent moment, — you  have  been  cordial  and  complaisant 
towards  me  to  a degree  which,  as  I already  said,  I never 
before  met  with,  and  for  which  I cordially  thank  you. 

Would  it  not  be  well  worth  while  for  any  publisher 
in  G-ermany  to  publish  just  now  some  of  Handel’s 
principal  oratorios  from  the  original  scores  ? This  ought 
to  be  done  by  subscription,  which  would,  I think,  be 
successful,  as  not  one  of  these  scores  exists  with  us.  I 
thought  of  composing  the  organ  parts  for  this  purpose ; 
they  must,  however,  appear  in  small  notes  in  the  score, 
or  in  notes  of  another  colour,  so  that,  first,  those  who 
wished  it  could  have  Handel  pure ; second,  my  organ 
parts  in  addition  if  required,  and  where  there  was  an 
organ;  and  third,  in  a supplementy  the  organ  part 
arranged  for  clarionets,  bassoons,  and  other  wind  instru- 
ments of  the  modern  orchestra,  when  no  organ  can  be 
had.  Such  a score  would  be  useful  to  all  institutes  for 
oratorio  music,  and  we  should  at  last  have  the  true 
Handel  in  Germany,  not  one  first  dipped  in  the  waters 
of  the  Moselle  and  thoroughly  diluted.  I was  assured  in 


WANT  OF  NEW  MUSIC. 


137- 


England  that  a very  considerable  number  of  subscribers 
to  such  a score  might  be  procured  there.  What  do  j^ou 
think  of  this  ? You  have  published  the  pianoforte  edi- 
tions of  these  oratorios, — ^perhaps  a selection  might  be 
made  from  some  of  them.  Of  course  I am  anxious  to 
have  your  really  candid  and  sincere  opinion  of  this  pro- 
posal, which  I only  mention  to  you  because  it  has  often 
suggested  itself  to  me,  and  recurs  to  me  at  this  moment. 
— I am,  with  sincere  esteem,  your  obedient 

Felix  Mendelssohn  Bartholdy. 


To  Ferdinand  Hiller. 

Berlin,  July  18th,  1838. 

, . The  whole  condition  of  music  here  is  connected 
with  the  sand,  with  the  situation,  and  with  official  life, 
so  that,  however  much  the  events  taking  place  in  the 
musical  world  may  please  you,  you  can  never  really 
love  them.  Grluck’s  operas  are  indeed  most  charming. 
Is  it  not  remarkable  that  they  always  attract  a full 
house,  and  that  the  public  applaud,  and  are  amused,  and 
shout  ? And  that  this  should  be  the  only  place  in  the 
world  where  such  a thing  seems  possible  ? And  that 
on  the  next  evening  the  ^‘Postilion”  should  draw  an 
equally  crowded  house  ? And  that  in  Bavaria  it  is 
forbidden  to  have  music  in  any  church,  either  Catholic 
or  Protestant,  because  it  is  supposed  to  desecrate  them  ? 
And  that  chorales  seem  to  have  become  indispensable 
in  the  theatre  ? The  chief  thing,  however,  is  to  have 
novelty,  and  plenty  of  good  and  fine  compositions  in  the 
12*^ 


•138 


Mendelssohn’s  letters. 


world ; thence  it  is  that  I am  so  eagerly  expecting  your 
overture  and  your  opera. 

You  probably  heard  that  I was  at  Cologne  during  the 
Musical  Festival : all  went  off  well.  The  organ  had  a 
fine  effect  with  Handel,  and  still  more  so  with  Sebas- 
tian Bach  (in  a newly-discovered  composition  of  his, 
which  you  have  not  yet  seen,  with  a stately  double 
chorus)  ; but  even  there,  to  my  mind  at  least,  new  and 
untried  works  were  wanting  to  excite  interest ; I should 
like  so  much  to  have  something  doubtful,  to  furnish 
both  the  public  and  myself  with  an  opportunity  of 
giving  an  opinion.  We  all  know  beforehand  what  we 
are  to  think  of  Beethoven,  Bach,  and  Handel.  This 
ought  to  be  so,  but  let  us  have  other  things  besides. 
You  are  quite  right  in  saying  that  it  is  better  in  Italy, 
where  the  people  insist  every  year  on  having  new 
music,  and  every  year  a fresh  criticism, — -if  only  the 
music,  and  likewise  the  criticisms,  were  a shade  better  I 
I hear  you  growl  and  say,  what  is  better  ? WeU,  then, 
more  according  to  my  taste,  if  you  will.  To  be  sure, 
my  taste  is  peculiar,  such  a possibility  sometimes 
suggests  itself  to  me ; but  I must  make  use  of  it  as  it 
is,  in  which  case  I can  contrive  to  swallow  as  little  aa 
the  stork  out  of  the  flat  dish.  . . . 


YOUNG  MUSICIANS. 


139 


To  CONCERTMEISTER  EeRDINAND  DaVID,  LeiPZIG. 

Berlin,  July  30th,  1838. 

Bear  David, 

Many  thanks  for  your  letter,  'which  gave  nie  great 
pleasure.  Since  I came  here  I have  been  constantly 
thinking  ho'w  really  delightful  it  is  that  we  are  to  meet 
and  live  together,  instead  of  your  being  in  one  place 
and  I in  another,  following  our  avocations  without  hear- 
ing much  of  each  other,  which  is,  no  doubt,  the  case 
with  many  good  fellows  in  our  dear  yet  rather  aggra- 
vating Fatherland ; but,  on  reflecting  further,  I dis- 
covered that  there  are  not  many  musicians  who,  like 
yourself,  pursue  steadily  the  broad  straight  road  in  art, 
or  in  whose  active  course  I could  feel  the  same  intense 
delight  that  I do  in  yours.  Such  things  are  seldom 
said  in  conversation : therefore  let  me  write,  to-day,  how 
much  your  rapid  and  welcome  development  during  the 
last  few  years  has  surprised  and  rejoiced  me : it  is  often 
grievous  to  me  to  see  so  many  with  the  noblest  aspira- 
tions but  inferior  talents,  and  others  with  great  talents 
yet  low  tendencies;  so  that  to  see  true  genius  com- 
bined with  right  good  will  is  doubly  cheering.  People 
of  the  former  class  swarm  here;  almost  all  of  the 
young  musicians  who  visit  me  may,  with  few  excep- 
tions, be  included  in  that  number.  They  praise  and 
prize  Gluck  and  Handel,  and  all  that  is  good,  and  talk 
#^bout  them  perpetually,  and  yet  what  they  do  is  an 
utter  failure,  and  so  very  tedious.  Of  the  second  class 
there  are  examples  everywhere.  As  I said,  therefore, 
the  very  thought  of  your  character  rejoices  me,  and 
may  Heaven  permit  us  to  succeed  more  and  more  in 


140 


Mendelssohn’s  letters. 


candidly  expressing  our  wishes  and  our  inmost  thoughts, 
and  in  holding  fast  all  that  is  dear  and  sacred  in  art,  so 
that  it  shall  not  perish ! . . . 

No  doubt  you  are  preparing  many  new  things  for 
next  winter,  and  I rejoice  heartily  in  the  idea  of  hear- 
ing them.  I have  just  finished  my  third  quartett  in  D 
major,  and  like  it  much.  May  it  only  please  you  as 
well  I — I almost  think  it  will,  for  it  is  more  spirited, 
and  seems  to  me  likely  to  be  more  grateful  to  the 
players  than  the  others.  I intend  in  a few  days  to  be- 
gin to  write  out  my  symphony,  and  to  complete  it  in  a 
short  time,  probably  while  I am  still  here.  I should 
also  like  to  write  a violin  concerto  for  you  next  winter. 
One  in  E minor  runs  in  my  head,  the  beginning  of 
which  gives  me  no  peace.  My  symphony  shall  cer- 
tainly be  as  good  as  I can  make  it,  but  whether  it  will 
be  popular  and  played  on  the  barrel-organs,  I cannot 
tell.  I feel  that  in  every  fresh  piece  I succeed  better 
in  learning  to  write  exactly  what  is  in  my  heart,  and, 
after  all,  that  is  the  only  right  rule  I know.  If  I am 
not  adapted  for  popularity,  I will  not  try  to  acquire  it, 
nor  seek  after  it ; and  if  you  think  this  wrong,  then  I 
ought  rather  to  say  I cannot  seek  after  it,  for  really  I 
cannot,  but  would  not  if  I could.  What  proceeds  from 
within,  makes  me  glad  in  its  outward  workings  also, 
and  therefore  it  would  be  very  gratifying  to  me  were  I 
able  to  fulfil  the  wish  you  and  my  friends  express ; but 
I can  do  nothing  towards  it  or  about  it.  So  much  ii^ 
my  path  has  fallen  to  my  share  without  my  having 
even  once  thought  of  it,  and  without  any  effort  on  my 
part,  that  perhaps  it  may  be  the  case  with  this  also ; if 
not,  I shall  not  grumble  on  the  subject,  but  console  my- 


CHOICE  OF  A PROFESSION. 


141 


self  by  knowing  that  I did  what  I could,  according  to 
my  best  powers  and  my  best  judgment.  I have  your 
sympathy,  and  your  delight  in  my  works,  and  also  that 
of  some  valued  friends.  More  could  scarcely  be  de- 
sired. A thousand  thanks,  then,  for  your  kind  expres- 
sions and  for  all  your  friendship  towards  me. — Your 

Eelix  M.  B. 


To  Herr  Advooat  Conrad  Sciileinitz,  Leipzig. 

Berlin,  August  1st,  1838. 

Dear  Schleinitz, 

. . . What  you  write  me  about  your  increased  busi- 
ness rejoices  me  much.  You  know  how  often  we  have 
talked  over  the  subject,  but  I cannot  share  your  senti- 
ment, that  any  one  profession  is  preferable  to  another. 
I always  think  that  whatever  an  intelligent  man  gives 
his  heart  to,  and  really  understands,  must  become  a 
noble  vocation ; and  I only  personally  dislike  those  in 
whom  there  is  nothing  personal,  and  in  whom  all  indi- 
viduality disappears ; as,  for  example,  the  military  pro- 
fession in  peace,  of  which  we  have  instances  here.  But 
with  regard  to  the  others  it  is  more  or  less  untrue. 
When  one  profession  is  compared  with  another,  the  one 
is  .usually  taken  in  its  naked  reahty,  and  the  other  in 
the  most  beautiful  ideality,  and  then  the  decision  is 
quickly  made.  How  easy  it  is  for  an  artist  to  feel  such 
reality  in  his  sphere,  and  yet  esteem  practical  men  hap- 
py who  have  studied  and  known  the  different  relations 
of  men  towards  each  other,  and  who  help  others  to 


142 


Mendelssohn’s  letters. 


live  by  tbeir  own  life  and  progress,  and  at  once  see  the 
fruits  of  all  that  is  tangible,  useful,  and  benevolent  in- 
stituted by  them ! In  one  respect,  too,  an  upright  man 
has  the  hardest  stand  to  make,  in  knowing  that  the 
public  are  more  attracted  by  outward  show  than  by 
truth.  But  individual  failures  and  strife  must  not  be 
allowed  to  have  their  growth  in  the  heart : there  must 
be  something  to  occupy  and  to  elevate  it  far  above 
these  isolated  external  things.  This  speaks  strongly  in 
favour  of  my  opinion,  for  it  is  the  best  part  of  every 
calling,  and  common  to  all, — to  yours,  to  mine,  and  to 
every  other.  Where  is  it  that  you  find  beauty  when  I 
am  working  at  a quartett  or  a symphony  ? Merely  in 
that  portion  of  myself  that  I transfer  to  it,  or  can  suc- 
ceed in  expressing ; and  you  can  do  this  in  as  full  a 
measure  as  any  man,  in  your  defence  of  a culprit,  or  in 
a case  of  libel,  or  in  any  one  thing  that  entirely  en- 
grosses you,  and  that  is  the  great  point.  If  you  can 
only  give  utterance  to  your  most  inmost  thoughts,  and 
if  these  inmost  thoughts  become  more  and  more  wor- 
thy of  being  expressed,  ...  all  the  rest  is  indifferent. 
I thank  you,  therefore,  for  the  report  you  give  me  of 
your  occupations,  and  hope  you  will  often  send  mo 
equally  good  tidings. — Your 

Felix  Mendelssohn  Bartholdy. 


MUSICAL  RIVALRY. 


143 


To  I.  Moscheles,  London. 

Leipzig,  October  28th,  1838. 

My  dear  Friend, 

A thousand  thanks  for  your  continued  friendship 
towards  me,  and  also  for  occasionally  assuring  me  of  it ; 
a letter  from  you  cheers  me  for  a long  time  to  come, 
and  what  you  write  of  yourself  and  others  is  always  so 
fertile,  and  as  much  yourself  as  if  I heard  you  speaking, 
and  were  agreeing  with  you  and  rejoicing  in  doing  so. 
If  I were  a little  more  mild,  and  a little  more  just,  and 
a httle  more  judicious,  and  a good  many  other  things 
a httle  more,  perhaps  I too  might  then  have  a judg- 
ment equal  to  yours;  but  I am  so  soon  irritated,  and 
become  unreasonable,  whereas  you  love  what  is  good, 
and  yet  what  is  bad  appears  to  you  worth  amend- 
ment. 

On  the  occasion  of  Clara  Novello’s  concert,  a vast 
amount  of  rivalry  and  bad  artistic  feeling  was  brought 
to  the  hght  of  day,  which  I neither  wish  to  exist  by 
day,  nor  by  night,  nor  indeed  in  the  world  at  all.  In 
fact,  when  really  good  musicians  condescend  to  depre- 
ciate each  other,  and  to  be  malicious,  and  to  sting  in 
secret,  I would  sooner  renounce  music  altogether,  or 
rather,  I should  say,  musicians ; it  is  such  petty,  tinker- 
ing work,  and  yet  it  seems  to  be  the  fashion  I formerly 
I thought  it  was  so  only  with  bunglers,  but  I see  it  is 
the  same  with  all.  A straightforward  character  alone 
is  a protection  against  such  an  example,  and  a straight- 
forward fellow,  who  despises  it.  Yet  this  serves  to 
endear  goodness  to  us  still  more,  and  we  rejoice  doubly 
in  the  contrast,  and  in  good  art,  and  in  good  artists, 


144 


Mendelssohn’s  letters.  * 


and  in  letters  from  you ; and  thus  the  world  is  by  no 
means  so  bad,  after  all. 


To  Pastor  Julius  Sohubring,  Dessau. 

^ -I  -I  . Leipaig,  November  2d,  1838. 

Dear  Schubrmg, 

Many,  many  thanks  for  your  letter,  which  I received 
the  day  before  yesterday,  and  for  the  parcel,  which 
came  to-day.  You  have  again  rendered  me  an  essential 
service,  and  I feel  most  grateful  to  you  ; how  can  you 
ask  whether  I wish  you  to  proceed  in  the  same  way  ? 
When  all  is  so  well  put  together,  I have  almost  nothing 
to  do  but  to  write  music  for  the  words.  I ought  to 
have  previously  told  you' that  the  sheets  you  took  away 
with  you  are  by  no  means  to  be  regarded  as  containing 
a mature  design,  but  as  a mere  combination  of  the 
materials  I had  before  me  for  the  purpose  of  eventually 
forming  a plan.  So  the  passage  of  the  widow,  and  also 
of  the  raven,  being  left  out,  is  decidedly  most  advisable, 
and  also  the  whole  commencement  being  abridged,  in 
order  that  the  main  points  may  be  dwelt  on  to  one’s 
heart’s  content.  I would  urgently  entreat  you  to  pro- 
ceed with  your  work,  so  far  as  your  time  and  leisure- 
will  permit,  and  soon  to  send  me  the  continuation  of 
the  first  part,  from  where  you  left  ojff,  and  which  must 
now  be  of  considerable  length.  Rest  assured  that,  as 
I already  told  you,  you  will  earn  my  most  sincere 
gratitude. 

You  say  that  at  first  you  could  not  make  anything 


THE  WORDS  FOR  “ELIJAH. 


145 


of  tlie  subject,  but  that  a sudden  light  dawned  on  you, 
I figured  to  myself  Elijah  as  a grand,  mighty  prophet, 
such  as  wc  might  again  require  in  our  own  day, — ■ 
energetic  and  zealous,  but  also  stern,  wrathful,  and 
gloomy ; a striking  contrast  to  the  Court  myrmidons 
and  popular  rabble, — in  fact,  in  opposition  to  the  whole 
world,  and  yet  borne  on  angels’  wings.  Is  this  the  in- 
ference you  drew  from  the  subject,  and  this  the  sense 
in  which  you  conceived  an  affection  for  it  ? I am  anx- 
ious to  do  justice  to  the  dramatic  element,  and,  as  you 
say,  no  epic  narrative  must  be  introduced.  I am  glad 
to  learn  that  you  are  searching  out  the  real  sense  of 
the  Scriptural  words,  which  cannot  fail  to  touch  every 
heart ; but,  if  I might  make  one  observation,  it  is  that 
I would  fain  see  the  Dramatic  Element  more  prominent, 
as  well  as  more  exuberant  and  defined, — appeal  and 
rejoinder,  question  and  answer,  sudden  interruptions, 
etc.  etc.  Not  that  it  disturbs  me,  for  example,  Elijah 
first  speaking  of  the  assembhng  of  the  people,  and  then 
forthwith  addressing  them.  All  such  liberties  are  the 
natural  privileges  of  such  a representation  in  an  ora- 
torio ; but  I should  like  the  representation  itself  to  be  as 
spirited  as  possible ; for  instance,  it  annoys  me  that  Elijah 
does  not  reply  to  Ahab’s  words,  No.  16  till  No.  18, — 
various  other  speeches  and  a chorus  intervening.  I should 
like  to  have  had  an  instant  and  eager  rejoinder,  etc.  etc. 

But  we  shall  no  doubt  presently  agree  on  such 
points,  and  I would  only  entreat  you,  when  you  resume 
your  work,  to  think  of  this  wish  of  mine.  Above  all, 
accept  my  thanks  for  your  kindness,  and  write  to  me 
soon  on  the  same  subject. — Ever  your 

L3 


Felix  M.  B. 


146 


Mendelssohn’s  letters. 


To  HIS  Family. 

Leipziii,  November  5ih,  1838. 

I have  felt  unequal  to  resume  the  train  of  my  musica. 
compositions  since  the  measles.  You  cannot  conceive 
the  chaos  that  accumulates  round  me,  when  I am 
obliged  neither  to  write,  nor  to  go  out,  for  three  weeks. 
At  last  here  I am,  correcting  the  parts  of  my  three 
violin  quartetts  which  are  to  appear  this  winter ; but  I 
never  can  contrive  to  complete  them,  owing  to  so  many 
letters,  and  affairs,  and  other  odiosa.  The  Shaws  are 
here,  who  don’t  know  one  word  of  Glerman,  and  not 
many  words  of  French,  and  yet  they  live  with  thorough, 
downright  Leipzigers,  who  only  speak  their  Leipzig 
vernacular;  and  Bennett,  with  two  young  English 
musicians,  and  six  new  symphonies,  and  letters,  and 
passing  strangers,  and  rehearsals,  and  Heaven  knows 
what  all  the  other  things  are,  which  swallow  up  the 
day,  leaving  no  more  trace  than  if  it  had  never-  existed. 
Truly  the  most  delightful  of  all  things  is  to  be  enabled 
to  store  up  precious  and  enduring  memorials  of  past 
days,  to  tell  that  these  days  were ; and  the  most  hate- 
M of  all  things  is,  when  time  passes  on,  and  we  pass 
with  it,  and  yet  grasp  nothing. 

I am  reading  Lessing  just  now  frequently,  with  true 
enjoyment  and  gratitude.  At  the  end  of  the  most  fa- 
tiguing day,  this  famous  fellow  makes  me  feel  quite 
fresh  again ; though  Germany  fares  rather  badly  when 
you  read  his  letters  to  his  grandfather,  or  to  Kicolai, 
Gleim,  and  Eckert ; and  yet  Lessing  wrote  in  German, 
and  in  such  German,  too,  that  it  cannot  be  well  trans- 
lated 1 


ms  OPINION  OF  PIETISM. 


147 


To  Professor  Schirmer,  Dusseldorf. 

{Now  Director  of  the  Carlsruhe  Academy^ 

Berlin,  November  21st,  1838. 

So  I am  said  to  be  a saint ! If  this  is  intended  to 
convey  what  I conceive  to  be  the  meaning  of  the  word, 
and  what  your  expressions  lead  me  to  think  you  also 
understand  by  it,  then  I can  only  say  that,  alas  I I am 
not  so,  though  every  day  of  my  life  I strive  with 
greater  earnestness,  according  to  my  ability,  more  and 
more  to  resemble  this  character.  I know”  indeed  that 
I can  never  hope  to  be  altogether  a saint,  but  if  I ever 
approach  to  one,  it  will  be  well.  If  people,  however, 
understand  by  the  word  “saint”  a Pietist,  one  of  those 
who  lay  their  hands  on  their  laps  and  expect  that  Pro- 
vidence will  do  their  work  for  them,  and  who,  instead 
of  striving  in  their  vocation  to  press  on  towards  per- 
fection, talk  of  a heavenly  calling  being  incompatible 
with  an  earthly  one,  and  are  incapable  of  loving  with 
their  whole  hearts  any  human  being,  or  anything  on 
earth, — then  God  be  praised  I such  a one  I am  not,  and 
hope  never  to  become,  so  long  as  I live ; and  though  I 
am  sincerely  desirous  to  live  piously,  and  really  to  be 
so,  I hope  this  does  not  necessarily  entail  the  other 
character.  It  is  singular  that  people  should  select  pre- 
cisely this  time  to  say  such  a thing,  when  I am  in  the 
enjoyment  of  so  much  happiness,  both  through  my 
inner  and  outer  life,  and  my  new  domestic  ties,  as  well 
as  .busy  work,  that  I really  never  knowhow  sufficiently 
to  show  my  thankfulness.  And,  as  you  wish  me  to 
follow  the  path  which  leads  to  rest  and  peace,  believe 


148 


Mendelssohn’s  letters. 


me,  I never  expected  to  live  in  the  rest  and  peace 
which  have  now  fallen  to  my  lot.  I offer  you  a thousand 
thanks  for  your  good  wishes,  and  beg  you  not  to  be 
uneasy  on  either  of  these  points. 

It  is  pleasant  to  learn  what  you  write  to  me  of  your- 
self and  your  works,  and  that  you  also  are  persuaded 
that  what  people  usually  call  honour  and  fame  are  but 
doubtful  advantages,  while  another  species  of  honour, 
of  a more  elevated  and  spiritual  nature,  is  as  essential 
as  it  is  rare.  The  truth  of  this  is  best  seen  in  the  case 
of  those  who  possess  all  possible  worldly  distinctions, 
without  deriving  from  them  one  moment  of  real 
pleasure,  but  only  causing  them  the  more  greedily  to 
crave  after  them ; and  this  fact  was  first  made  quite 
evident  to  me  in  Paris.  I rejoice  that  you  are  not  one 
of  those  who  speak  in  a contemptuous  strain  of  French 
painters,  for  I have  always  received  great  pleasure 
from  the  good  ones  of  the  present  day,  and  I cannot 
believe  in  the  sincerity  of  those  persons  who,  at  sight 
of  one  of  your  pictures,  fall  into  ecstasies,  and  yet  pre- 
sume from  the  height  of  their  throne  to  look  down  on 
one  of  Horace  Yernet’s.  What  I mean  is,  that  if  one 
beautiful  object  pleases  the  eye,  another  cannot  fail  also 
to  inspire  sympathy ; at  least,  so  it  is  with  myself. 


To  Pastor  Julius  Schubring,  Dessau. 

Leipzig,  December  6th,  1838. 

Dear  Schubring, 

Along  with  this  you  will  receive  the  organ  pieces 
and  “ Bonifacius,”  which  I also  enclose.  Thank  you 


SUBJECTS  FOR  ORATORIOS. 


149 


much  for  the  latter,  and  for  the  manuscripts  you  have 
from  time  to  time  sent  me  for  “Elijah;  ” they  are  of 
the  greatest  possible  use  to  me,  and  though  I may  here 
and  there  make  some  alterations,  still  the  whole  affair, 
by  your  aid,  is  now  placed  on  a much  firmer  footing. 
With  regard  to  the  dramatic  element,  there  still  seems 
to  be  a diversity  of  opinion  between  us.  In  such  a 
character  as  that  of  Ehjah,  like  every  one  in  the  Old 
Testament,  except  perhaps  Moses,  it  appears  to  me 
that  the  dramatic  should  predominate, — the  personages 
should  be  introduced  as  acting  and  speaking  with  fer- 
vour ; not,  however,  for  Heaven’s  sake,  to  become  mere 
musical  pictures,  but  inhabitants  of  a positive,  practical 
world,  such  as  Ave  see  in  every  chapter  of  the  Old 
Testament ; and  the  contemplative  and  pathetic  element 
which  you  desire  must  be  entirely  conveyed  to  our 
apprehension  by  the  words  and  the  mood  of  the  acting 
personages. 

In  your  “Bonifacius,”  for  instance,  this  was  a point 
to  which  I was  by  no  means  reconciled ; in  my  opinion 
he  ought  to  have  been  treated  dramatically  throughout, 
like  a theatrical  representation  (in  its  best  sense)  only 
without  visible  action.  The  Scriptural  allusions,  too, 
should,  according  to  my  idea,  be  more  sparingly  intro- 
duced, and  placed  in  his  mouth  alone.  The  contrast 
between  this  style  of  language  (Avhich  pervades  the 
whole)  and  that  at  the  coronation  is  not  sufi&ciently 
equalized.  Pepin,  and  all  the  pagans,  and  pagan  priests, 
flit  before  me  hke  shadows  or  misty  forms,  whereas,  to 
satisfy  me,  they  must  be  solid,  robust  men.  Do  not  be 
displeased  that  I send  you  a bit  of  criticism  along  with 
my  thanks,  for  such  is  my  insufferable  custom.  Be- 
13* 


150 


MENDELSSOHN  S LETTERS. 


sides,  a cold  and  cough  make  me  unusually  rabid  to- 
day. I am  now  about  to  set  to  work  on  the  Elijah,” 
and  to  plough  away  at  the  soil  as  best  I can ; if  I do 
not  get  on  with  it,  you  must  come  to  my  aid,  and,  I 
hope,  as  kindly  as  ever,  and  preserve  the  same  regard 
for  youi 

Felix  Mendelssohn  Bartholdy. 


To  A.  SiMROCK,  Bonn. 

Leipzig,  March  4th,  1839, 

The  manuscripts  which  I ought  to  have  sent  you 
last  year  are  not  yet  finished ; I wished  to  make  them 
as  perfect  as  I could ; but  for  this  both  leisure  and  good 
humour  were  requisite,  and  during  the  period  of  con- 
stant concerts  these  too  often  failed.  Now  I hope 
shortly  to  complete  the  pieces,  and  thus  free  myself 
from  debt. 

But  they  are  not  “songs  without  words,”  for  I have 
no  intention  of  writing  any  more  of  that  sort,  let  the 
Hamburgers  say  what  they  will  I If  there  were  too 
many  such  animahula  between  heaven  and  earth,  at 
last  no  one  would  care  about  them ; and  there  really  is 
quite  a mass  of  piano  music  composed  now  in  a similar 
style ; another  chord  should  be  struck,  I say. — I am, 
with  entire  esteem,  your  obedient 

Felix  Mendelssohn  Bartholdy, 


151 


OYERTUKE  TO  “ RUY  BLAS.” 

To  ms  Mother. 

Leipzig,  March  18th,  1839. 

You  wished  to  know  how  the  overture  to  “ Euy 
Bias  ” went  off.  Famously.  Six  or  eight  weeks  since 
an  application  was  made  to  me  in  favour  of  a repre- 
sentation to  be  given  for  the  Theatrical  Pension  Fund 
(an  excellent  benevolent  institution  here,  for  the  bene- 
fit of  which  Euy  Bias  ” was  to  be  given).  I was  re- 
quested to  compose  an  overture  for  it,  and  the  music 
of  the  romance  in  the  piece,  for  it  was  thought  the  re- 
ceipts would  be  better  if  my  name  appeared  in  the 
bills.  I read  the  piece,  which  is  detestable,  and  more 
utterly  beneath  contempt  than  you  could  believe,  and 
said  that  I had  no  leisure  to  write  the  overture,  but  I 
composed  the  romance  for  them.  The  performance 
was  to  take  place  last  Monday  week ; on  the  previous 
Tuesday  the  people  came  to  thank  me  pohtely  for  the 
romance,  and  said  it  was  such  a pity  I had  not  also 
written  an  overture,  but  they  were  perfectly  aware 
that  time  was  indispensable  for  such  a work,  and  the 
ensuing  year,  if  I would  permit  them,  they  would  give 
me  longer  previous  notice.  This  put  me  on  my  mettle. 
I reflected  on  the  matter  the  same  evening,  and  began 
my  score.  On  Wednesday  there  was  a concert  re- 
hearsal, which  occupied  the  whole  forenoon.  Thursday 
the  concert  itself,  yet  the  overture  w^as  in  the  hands  of 
the  copyist  early  on  Friday ; played  three  times  on 
Monday  in  the  concert  room,  tried : over,  once  in  the 
theatre,  and  given  in  the  evening  as  an  introduction,  to 
the  odious  play.  Few  of  my  works  have  cansed  me 
more  amusing  excitement.  It  is  to  be  repeated,  by 


162 


Mendelssohn’s  letters. 


desire,  at  the  next  concert,  but  I mean  to  call  it,  not 
the  overture  to  “ Euy  Bias,”  but  to  the  Theatrical  Pen- 
sion Fund. 


To  Fanny  Hensel,  Berlin. 


Frankfort,  June  18th,  1839. 


Dear  Fanny, 

Give  me  your  best  advice!  The  eccentric  Capell- 
meister  Guhr  is  become  my  particular  friend,  and  we 
are  quite  inseparable.  Lately  we  were  in  a pleasant 
cordial  mood,  and  I was  eagerly  questioning  him  about 
his  extensive  and  rare  collection  of  Bach’s  works, 
among  which  are  two  autographs,  the  choral  preludes 
for  the  organ,  and  the  Passecaille,”  with  a grand 
fugue  at  the  end  of  it, — 


when  he  suddenly  said,  I’ll  tell  you  what,  you  shall 
have  one  of  these  autographs ; I will  make  you  a pre- 
sent of  it,  for  you  take  as  great  delight  in  them  as  I 
do;  choose  which  you  prefer, — the  preludes  or  the 
‘ PassecaiUe.’  ” This  was  really  no  trifling  gift,  for  I 
know  that  he  has  been  offered  a considerable  sum  of 
money  for  these  pieces,  but  he  refused  to  part  with 
them,  and  I would  myself  have  paid  a good  price  for 
them  had  they  been  for  sale,  and  now  he  freely  gives 
me  one ; but  the  question  is,  which  shall  I take  ? I 
have  by  far  the  strongest  inclination  for  the  preludes, 


OAPELLMEISTER  GUHR. 


153 


because  they  begin  with  the  “Altes  Jahr,  because 
they  include  other  great  favourites  of  mine,  and  be- 
cause the  “ Passecaille  ” and  the  fugue  are  already  pub- 
lished. But  you  must  also  have  a voice  in  the  matter, 
for  you  will  feel  no  common  interest  in  it.  So  send 
me  your  vote.  Cantor  ! 

Is  not  G-uhr  a most  singular  being  ? and  yet  I can 
get  on  better  with  him  than  with  any  other  of  the 
Frankfort  musicians.  He  enjoys  life,  and  hves  and  lets 
live,  but  is  sharp  enough  as  a director,  and  beats  com- 
mon time  so  distinctly  that  they  cannot  fail  to  play  to 
it,  as  if  they  were  in  arm-chairs ; and  my  other  col- 
leagues here  are  so  desperately  melanclioly,  and  always 
talking  of  musical  critiques,  and  recognition,  and  flat- 
tering testimonials,  and  constantly  thinking  about 
themselves,  and  constantly  fishing  for  compliments 
(but  these  compliments  must  be  genuine;  they  even 
aspire  to  outpourings  of  the  heart!).  This  is  both 
provoking  and  sad;  and  yet  (behind  people’s  backs) 
they  can  play  as  mad  pranks  as  any  one.  Much  as  I 
like  Frankfort  for  a summer  visit,  I do  not  wish  to  be 
settled  here  as  a musician,  owing  to  aU  the  above  rea- 
sons, and  many  others  besides. 

At  the  concert  of  the  St.  Cecilia  Association,  where 
I had  an  opportunity  of  fairly  estimating  their  musical 
organization,  I felt  quite  melancholy  at  the  difference 
between  our  sense  of  music  in  Leipzig  and  what  was 
given  here ; for  though  it  goes  on  very  fairly,  and 
sometimes  sounds  well,  still,  as  a rule,  it  seems  as  if 
they  were  playing  from  sheer  weariness,  or  from  com- 
pulsion, and  vastly  little  of  that  zeal  and  love  are  ap- 
parent in  the  orchestra  which  so  often  prevails  among 


154 


Mendelssohn’s  letxeus. 


us.  In  fact,  when  I compare  the  whole  elements  of 
the  orchestra  here  with  ours  at  Leipzig,  I feel  just  as  I 
did  when  I returned  from  Diisseldorf  and  thought  my- 
self in  Paradise.  The  St.  Ceciha  j^.ssociation,  too,  has 
deteriorated,  which  is  not  the  fault  of  one  person  or 
another,  but  of  aU  combined,  for  the  _ soil  here  is  far 
from  being  favourable  to  music,  though  ;all  the  better 
for  apples  and  cherries  and  wine,  and  other  good  things. 
I wish  you  could  see  the  Sachsenhausen  hill  at  this 
moment,  with  all  its  ripe  cherries  and  blooming  vines ! 
Moreover,  there  are  many  dcHghtful  people  here,,  and 
some  among  them  genuinely  musical.  For  painting 
much  is  done,  and  it  seems  to  be  making  real  progress. 
This  is  a very  different  hfe  from  what  it  was  three  or 
four  years  ago  when  I was  here,  and  found  everything 
disorganized  by  discord  and  strife. 

A tolerably  good,  though  not  very  extensive,  exhibi- 
tion of  paintings  is  just  closed,  which  contained  some 
admirable  and  many  very  pretty  things.  This  change 
of  tune  and  subject  brings  us  back  to  Hensel.  When 
does  he  go  to  England  ? when  does  he  return  ? does 
he  take  any  pictures  with  him  ? and  what  may  they 
be?  are  you  going  to  Italy?  do  I know  anything  of 
anything  ? I am  writing  a trip  (the  first  part  is  finish- 
ed), a sonata  for  the  viohn  (ditto)j  a symphony  (not 
ditto),  and  a letter  to  you  (which  is  now  quite  finished). 
But  when  will  you  write  to  me  ? — Your 


Felix. 


DIARY. 


155 


To  Carl  Klingemann,  London. 

Hochheim,  near  Coblenz,  August  Ist,  1839. 

Mj  dearest  Friend, 

I earnestly  hope  that  you  may  fulfil  your  intention 
of  visiting  us  late  in  the  autumn.  The  time  seems  tc 
me  endless  till  you  become  acquainted  with  my  wife ; 
besides,  it  is  indeed  very  long  since  you  and  I have 
conversed  in  the  unreserved  confidence  of  home.  When 
I was  in  England,  two  years  ago,  my  wife  kept  a 
small  diary,  which  she  began  after  our  marriage,  and 
every  day  during  my  stay  in  England  she  left  a blank 
space  in  its  pages,  that  I might  write  the  record  of  my 
days  opposite  to  hers.  For  some  time  past  I have  ac- 
customed myself  to  do  this,  and  entered  every  detail 
minutely  into  the  httle  green  book4(you  ought  to  know 
it,  for  you  gave  it  to  me  in  1832), — the  date  of  Eosen’s 
death,  that  of  my  visit  to  Birmingham,  etc.  Now  I 
have  arrived  exactly  at  the  anniversary,  and  my  diary 
clearly  shows  me  how  much  I was  then  out  of  sorts, 
and  very  different  from  what  I ought  to  have  been. 
The  constant  publicity,  the  grand  scale  of  things  on 
every  side,  in  fact,  everything  around  me,  attracted  me 
less  than  formerly,  and  made  me  feel  bewildered  and 
irritable.  May  we  therefore  soon  meet  in  G-ermany ! 
You  certainly  would  not  enjoy  yourself  less  here  after 
England,  and  I do  delight  in  this  beautiful  country. 
The  summer  months  I recently  passed  in  Frankfort 
have  thoroughly  refreshed  me ; in  the  morning  I work- 
ed, then  bathed  or  sketched ; in  the  afternoon  I played 
the  organ  or  the  piano,  and  afterwards  rambled  in  the 
forest,  then  into  society,  or  home,  where  I always 


156 


MENDELSSOHN  S LETTERS. 


found  the  most  charming  of  all  society : this  was  the 
mode  in  which  my  life  was  agreeably  spent,  and  you 
must  add  to  all  this  the  glorious  summer  days  which 
followed  each  other  in  uninterrupted  succession. 

We  have  now  been  here  nearly  a fortnight,  and  three 
or  four  days  hence  we  intend  to  go  up  the  Rhine,  back 
to  Frankfort,  and  return  to  Leipzig  about  the  middle  of 

the  month.  Your  wish  to  have  X in  London 

(though  very  natural,  I admit)  is  one  in  which  we  do 
not  at  all  agree,  and  yet  my  reasons  are  by  no  means 
egotistical, — quite  the  reverse.  I am  convinced  that  it 
would  not  be  for  his  benefit  were  he  to  assume  a posi- 
tion in  the  world  which  would  oblige  him  to  take  an 
interest  in  so  many  things,  not  only  foreign  to  art,  but 
actually  adverse  to  it.  A certain  number  of  guineas 
might  accrue  to  him,  but  no  real  gain,  either  for  his 
happiness  or  his  progress  in  art.  Formerly  I used  posi- 
tively to  hate  all  speculators  in  art,  but  now  I feel 
chiefly  compassion  for  them,  because  I see  so  few  who 
are  at  rest ; it  is  a never-ending  strife  for  money  and 
fame,  and  the  most  superior  talents,  as  well  as  inferior 

ones,  join  in  it.  Highly  as  I esteem  X , I am  by 

no  means  sure  that  he  would  not  make  shipwreck  on 
this  rock,  and,  even  if  he  did  not  lose  the  brightest 
part  of  his  genius,  he  would  certainly  have  to  deplore 
the  best  part  of  his  life  and  happiness ; and,  after  all, 
for  what  ? The  reformation  and  improvement  of  indi- 
vidual cities,  even  were  they  as  important  as  ])ondon, 
is  in  fact  either  impossible  or  indiflerent ; but  if  a man 
only  strives  thoroughly  to  perfect  own  being,  and 
to  purify  himself  by  degrees  from  all  dross,  in  acting 
thus  he  is  working  for  all  cities  alike ; and  if  he  does 


NEW  MUSIC. 


157 


so  even  in  a village,  his  labours  are  certain  to  make 
their  way  into  the  world,  and  there  to  exercise  their 

due  influence.  I would  rather,  therefore,  that  X 

remained  in  Germany  wherever  music  is  most  appre- 
ciated; but  you  must  not  ask  me  where  that  is, — 
whether  at  Frankfort  or  Vienna ; but  it  lies  in  the  air, 
no  doubt : therefore  I shall  always  advise  his  not  leaving 
Germany. 

Planche’s  work  gets  on  very  slowly,  and  possibly  I 
may  have  a new  oratorio  ready  before  his  text  is  com- 
pleted. The  number  of  friends  that  St.  Paul”  has 
gained  me  is  really  quite  remarkable.  I could  never 
have  anticipated  it.  It  was  performed  twice  at  Vienna 
in  the  spring,  and  they  want  to  have  a festival  there 
in  November,  with  one  thousand  performers  St.  Paul” 
is  to  be  given),  which  I shall  probably  go  to  conduct. 
This  has  surprised  me  the  more,  because  no  other  work 
of  mine  has  ever  made  its  way  into  Vienna.  I must 
be  in  Brunswick  for  the  Musical  Festival  the  end  of 
this  month,  in  order  to  conduct  “St.  Paul;”  and  it  is 
always  a source  of  twofold  pleasure  to  me  when  I have 
no  personal  acquaintances  in  a place,  which  will  be  the 
case  there. 

My  new  pieces  are  a trio,  completed  for  piano,  violin, 
and  violoncello,  in  D minor  ; a book  of  four-part  songs, 
to  be  sung  in  the  open  air ; some  songs  for  one  voice, 
organ  fugues,  half  a Psalm,  etc.  I mean  to  continue 
the  four-part  songs,  and  have  thought  a good  deal 
about  the  capabilities  of  this  style ; and  it  does  seem 
the  most  natural  of  all  music  when  four  people  are 
rambling  together  in  the  woods,  or  sailing  in  a boat,  and 
have  the  melody  all  ready  with  them  and  within  them. 
14 


158 


Mendelssohn’s  letters. 


In  quartetts  for  male  voices  alone,  both  for  musical  and 
other  reasons,  there  is  something  prosaic  in  the  four 
male  voices,  which  has  always  been  perceptible ; whereas 
in  those  I allude  to,  the  combination  of  male  and  female 
voices  will  sound  more  poetical,  and  this  will,  I hope, 
also  be  perceptible. 

Do  send  me  a song  or  two,  to  sing  in  autumn,  or, 
better  still,  in  summer,  or  in  spring,  or  on  the  water, 
on  the  grass,  or  on  a bridge,  or  in  the  woods,  or  in  the 
garden ; to  the  stork,  or  to  a kind  Providence,  or  to  the 
people  of  the  cities  and  plains,  or  for  a dance,  or  a wed- 
ding, or  as  a souvenir.  It  might  be  a popular  romance  I 

I should  like  much  to  hear  your  sentiments  about  the 
events  in  your  Fatherland  ;*  they  interest  me  more 
than  you  perhaps  imagine.  Be  sure  you  come  to  us 
the  end  of  autumn  I Cecilia  says  your  room  is  ready, 
and  sends  you  her  remembrances. — I am  always  yours, 

Felix  M.  B. 


To  HIS  Mother. 

Frankfort,  July  3d,  1839. 

We  are  leading  the  most  agreeable,  happy  life  ima- 
ginable here.  I am  therefore  resolved  not  to  go  away 
till  obliged  to  do  so,  and  to  give  myself  up  entirely  for 
the  present  to  a sense  of  comfort  and  pleasure.  The 
most  delightful  thing  I ever  saw  in  society  was  a fete 
in  the  forest  here ; I really  must  tell  you  all  about  it, 


* Hanover. 


A FOREST  FETE. 


159 


because  it  was  unique  of  its  kind.  Within  a quarter 
of  an  hour^s  drive  from  the  road,  deep  in  the  forest 
where  lofly  spreading  beech-trees  stand  in  solitary 
grandeur,  forming  an  impenetrable  canopy  above,  and 
where  all  around  nothing  was  to  be  seen  but  green 
foliage  glistening  through  innumerable  trunks  of  trees, 
— this  was  the  locality.  We  made  our  way  through 
the  thick  underwood,  by  a narrow  footpath,  to  the  spot, 
where,  on  arriving,  a number  of  white  figures  were 
visible  in  the  distance,  under  a group  of  trees,  encircled 
with  massive  garlands  of  flowers,  which  formed  the 
concert-room.  How  lovely  the  voices  sounded,  and 
how  brilliantly  the  soprano  tones  vibrated  in  the  air ! 
what  charm  and  melting  sweetness  pervaded  every 
strain  ! All  was  so  still  and  retired,  and  yet  so  bright ! 
I had  formed  no  conception  (S*  such  an  effect.  The 
choir  consisted  of  about  twenty  good  voices ; during 
the  previous  rehearsal  in  a room,  there  had  been  some 
deficiencies,  and  want  of  steadiness.  Towards  evening, 
however,  when  they  stood  under  the  trees,  and  uphfting 
their  voices  gave  my  first  song,  “Ihr  Yoglein  in  den 
Zweigen  schwank,”  it  was  so  enchanting  in  the  silence 
of  the  woods,  that  it  almost  brought  tears  to  my  eyes. 

It  sounded  like  genuine  poetry.  The  scene,  too,  was 
so  beautiful ; all  the  pretty  female  figures  in  white,  and 

Herr  B standing  in  the  centre,  beating  time  in  his 

shirt-sleeves,  and  the  audience  seated  on  camp-stools, 
or  hampers,  or  lying  on  the  moss.  They  sang  through 
the  whole  book,  and  then  three  new  songs  which  I had 
composed  for  the  occasion.  The  third  Lerchenge- 
sang”)  was  rather  exultingly  shouted  than*  sung,  and 
repeated  three  times,  while  in  the  interim  strawberries. 


160 


Mendelssohn’s  letters. 


cherries,  and  oranges  were  served  on  the  most  delicate 
china,  and  quantities  of  ice  and  wine  and  raspberry 
syrup  carried  round.  People  were  emerging  in  every 
direction  out  of  the  thicket,  attracted  from  a distance 
by  the  sound  of  the  music,  and  they  stretched  them- 
selves on  the  ground  and  listened. 

As  it  grew  dark,  great  lanterns  and  torches  were  set 
up  in  the  middle  of  the  choir,  and  they  sang  songs  by 
Schelble  and  Hiller,  and  Schnyder,  and  Weber.  Pre- 
sently a large  table,  profusely  decorated  with  flowers 
and  brilliantly  lighted,  was  brought  forward,  on  which 
was  an  excellent  supper  with  all  sorts  of  good  dishes 
and  wines ; and  it  was  most  quiet,  withal,  and  lonely 
in  the  wood,  the  nearest  house  being  at  the  distance 
of  at  least  an  hour,  and  the  gigantic  trunks  of  the  trees 
looking  every  moment  more  dark  and  stern,  and  the 
people  under  their  branches  more  noisy  and  jovial. 
After  supper  they  began  again  with  the  first  song,  and 
sang  through  the  whole  six,  and  then  the  three  new 
ones,  and  the  “ Lerchengesang”  once  more  three  times 
over.  At  length  it  was  time  to  go  ; in  the  thicket  we 
met  the  wagon  in  which  all  the  china  and  plate  was 
to  be  taken  back  to  the  town ; it  could  not  stir  from 
the  spot,  nor  could  we  either,  but  we  contrived  to  get 
on  at  last,  and  arrived  about  midnight  at  our  homes  in 
Frankfort.  The  donors  of  the  fete  were  detained  in  the 
forest  till  two  o’clock,  packing  up  everything,  and  lost 
their  way  along  with  the  large  wagon,  finding  them- 
selves unexpectedly  at  Isenburg ; so  they  did  not  get 
home  till  long  afterwards.  There  were  three  families 
who  had  the  merit  of  this  idea,  and  whom  we  have  to 
thank  for  tliis  memorable  /e/e.  Two  of  these  we  were 


MUSICAu  ENTERTAINMENT. 


161 


not  at  all  acquainted  with,  and  the  third  only  slightly. 
I know  now  how  songs  ought  to  sound  in  the  open  ah', 
and  hope  shortly  to  compose  a gay  book  of  them. 

It  must  be  tiresome  enough  for  you  to  read  descrip- 
tions of  fetes  long  past,  and  indeed  such  descriptions 
are  of  no  great  interest  even  to  those  who  were  pre- 
sent, but  far  more  trying  to  those  who  were  not ; and 
yet  I cannot  resist  telling  you  also  of  an  entertainment 
given  by  Herr  E , which  took  place  last  week,  be- 

cause I know  you  rejoice  in  any  marks  of  honour 
bestowed  on  me,  and  this  was  indeed  a very  great  one. 
We  were  invited,  along  with  many  whom  we  knew 
and  some  whom  we  did  not  know,  chiefly  members  of 
the  St  Cecilia  Association.  First,  we  had  some  music, 
and  played  and  sang ; then  the  door  of  a dark  room 
was  thrown  open,  and  from  an  opposite  direction  re- 
sounded my  overture  to  the  ‘^Midsummer  Night’s 
Dream.”  While  it  was  being  played,  a curtain  drew 
up,  and  displayed  a most  charming  tableau,  Titania 
sleeping  in  a flower ; hovering  over  her  was  Cobweb 
spreading  out  the  curtain,  Peaseblossom  fanning  her, 
Moth,  and  the  others, — all  represented  by  lovely  young 
girls;  and  a whole  succession  of  tableaux  followed, 
accompanied  by  my  music.  The  second  was  a G-erman 
girl  of  the  olden  time  in  her  chamber,  while  her  lover, 
in  rain  and  snow,  was  singing  under  her  window, 
“Leucht’t  heller  als  die  Sonne,”  which  seemed  to 
please  her  uncommonly.  This  was  succeeded  by  an 

Ave  ” for  eight  voices,  with  the  Angel,  bearing  a lily 
in  his  hand,  appearing  to  the  kneeling  Mary.  Then 
came  a beautiful  Zuleika,  in  a Persian  apartment,  who, 
without  changing  her  attitude,  sang  my  song  in  E minor 
14* 


162 


Mendelssohn’s  letters. 


very  sweetly  and  prettily.  This  was  followed  by  a 
masterpiece — Spanish  peasants’  nuptials, — three  hand- 
some couples  of  lovers  dancing,  admirably  costumed 
and  placed,  and  behind  them  a pathetic  Don  Quixote, 
when  the  little  chorus  in  C,  ‘‘Nun  ziindet  an,”  was 
appropriately  sung.  Next  came  a youth  with  a small 
neckcloth  and  a large  shirt-collar,  in  a vineyard  with  a 
sketch-book,  and  he  sang  “1st  es  wahr?”  and  mo^^t 
charmingly  he  sang  it.  Seventhly  (for  I am  now  fall- 
ing into  the  catalogue  style),  a chapel,  with  a handsome 
Grothic  (mock)  organ,  at  which  was  seated  a nun,  with 
two  others  standing  by  her,  who  sang  from  the  printed 
music  “ Beati  omnes,”  the  choir  responding  behind  the 
scenes.  Eighthly,  two  girls  at  a well,  singing  by  heart, 
in  ihe  most  enchanting  manner,  my  duett,  “ Ich  woUt’, 
meine  Liebe,”  having  contrived,  under  some  pretext, 
to  get  the  music  transcribed.  Ninthly,  St.  Paul  on  the 
ground,  his  escort  in  alarm,  and  a chorus  of  women 
singing  behind  the  scenes.  Tenth  and  last,  before  the 
curtain  was  drawn  up,  “ As  the  hart  panteth  after  the 
waterbrooks”  was  sung,  while  I was  wondering  how 
they  would  manage  to  represent  the  panting  of  the 
hart,  and  who  was  to  attempt  it.  But  now  comesvsome- 
thing  more  especially  for  you.  Mother.  They  had 
dressed  S , who  is  thought  to  resemble  me,  to  per- 

sonate myself;  and  there  he  was,  sitting  in  an  inspired 
attitude,  writing  music,  and  chewing  away  at  his  hand- 
kerchief,* and  by  his  side  a lovely  St.  Ceciha  with  a 
wreath.  Now,  Mother,  I hope  you  will  no  longer  call 
me  the  “reverse  of  a charlatan;”  for  my  describing  aU 


♦ A habit  of  Mendelssohn’s. 


bach’s  music. 


163 


this  myself,  without  the  ink  turning  red  for  shame,  is 
really  a strong  measure ! 

As  I am  in  a boasting  mood,  I may  as  well  tell  you 
at  once  that  I have  proposals  from  two  musical  fes- 
tivals for  1840.  And  now  enough  of  myself  and  my 
braggadocio.  I have,  however,  been  very  busy  here, 
and  have  completed  a pianoforte  trio,  five  four-part 
songs  for  the  open  air,  and  three  fugues  for  the  organ, 
as  well  as  commenced  many  others.  I have  practised 
the  organ  so  steadily,  that  on  my  return  to  Leipzig  I 
purpose  giving  an  organ  concert  there,  and  I think  that 
my  pedal  playing  is  now  very  tolerable. 

Dear  Fanny ! I beg  that  among  the  six  great  organ 
preludes  and  fugues  of  Bach,  published  by  Kiedl,  you 
will  look  at  the  fugue  No.  3,  in  C m^tjor.  Formerly  I 
did  not  care  much  about  them,  they  are  in  a very 
simple  style;  but  observe  particularly  the  four  last 
bars ; natural  and  simple  as  they  are,  I feel  quite  in 
love  with  them,  and  played  them  over  at  least  fifty 
times  yesterday.  How  the  left  hand  glides  and  turns, 
and  how  gently  it  dies  away  towards  the  close  ! It 
pleased  me  beyond  all  measure. 


To  Fanny  Hensel,  Berlin.* 

Leipzig,  September  14th,  1839. 

Dear  Fanny, 

Wishing  to  note  down  a great  many  things  for  your 
benefit,  I examined  my  diaries,  but  found  very  httle  in 


* Just  before  his  sister’s  journey  to  Italy. 


164: 


MENDELSSOHN  S LETTERS. 


them,  and  say  to  myself,  “ Hensel  will  show  her  and 
tell  all  this  a hundred  times  better  than  I can.” 

So  only  with  a view  to  perform  my  promise : — 

Isola  Bella. — Place  yourself  on  the  very  highest  point, 
and  look  right  and  left,  before  and  behind  you, — the 
whole  of  the  island  and  the  whole  of  the  lake  are  at 
your  feet. 

Venice. — Do  not  forget  Casa  Pisani,  with  its  Paul 
Veronese,  and  the  Manfrini  Grallery,  with  its  marvellous 
Cithern  Player  ” by  Giorgione,  and  a ditto,  Entomb- 
ment,” by  Titian  (Hensel  laughs  at  me).  Compose 
something  in  honour  of  the  Cithern  Player;  ” I did  so. 
When  you  see  the  “Assumption  of  the  Virgin,”  think 
of  me.  Observe  how  dark  the  head  of  Mary, — and  in- 
deed her  whole  figure  stands  out  against  the  bright 
sky ; the  head  looks  quite  brown,  and  there  is  an 
ineffable  expression  of  enthusiasm  and  overflowing 
felicity,  that  no  one  could  believe  without  having  ac- 
tually seen  it.  If  you  don’t  think  of  me,  too,  at  sight 
of  the  golden  glory  of  the  sky  behind  Mary, — then 
there  is  an  end  of  all  things ! Likewise  two  certain 
Cherubs’  heads,  from  which  an  ox  might  learn  what 
true  beauty  is;  and  if  the  “Presentation  of  Mary,”  and 
the  woman  selling  eggs  underneath,  do  not  please  you, 
— ^then  call  me  a blockhead  ! Think  of  Goethe  when 
you  see  the  Lions  in  front  of  the  Arsenal : “ Stehen 
zwei  altgriechische  Lowen,”  etc.  Sail  in  a gondola  at 
night,  meeting  other  black  gondolas  hurrying  along. 
If  you  don’t  then  think  of  all  sorts  of  love-stories,  and 
other  things  which  might  occur  within  them  while  they 
glide  by  so  quickly, — then  am  I a dolt ! 

Florence. — The  following  are  among  my  notes  on  the 


NOTES  ON  ITALY. 


1G5 


portrait-gallery  (see  if  you  find  them  true,  and  write 
to  me  on  the  subject) : — 

Comparison  between  the  head  and  its  production, 
between  the  man’s  work  and  his  exterior, — the  artist 
and  his  portrait.  Titian,  vigorous  and  royal;  Domeni- 
chino,  precise,  bright,  very  astute,  and  buoyant;  Guido, 
pale,  dignified,  masterly,  keen ; Lanfranco,  a grotesque 
mask ; Leonello  Spada,  a good-natured  fanfaron  and  a 
reveller ; Annibale  Carracci,  peeping  and  prying ; the 
two  Caraccis,  like  the  members  of  a guild ; Caravaggio, 
rather  commonplace  and  cat-like ; Guercino,  handsome 
and  affected,  melancholy  and  dark;  Bellini  the  red- 
haired,  the  stern,  old-fashioned  teacher;  Giorgione, 
chivalrous,  fantastic,  serene,  and  clear ; Leonardo  da 
Yinci,  the  lion;  in  the  middle,  the  fragile,  heavenly 
Eaphael,  and  over  him  Michael  Angelo,  ugly,  vigorous, 
malignant ; Carlo  Dolce,  a coxcomb ; Gerard  Dow,  a 
mere  appendage  among  his  kitchen  utensils,”  etc.  etc. 

In  the  large  gallery  to  the  left  of  the  tribune,  look  at 
a little  picture  by  Fra  Bartolommeo,  scarcely  larger 
than  this  sheet  of  paper,  but  with  two  doors,  all  so 
neatly  and  carefully  painted  and  finished.  When  you 
enter  the  gallery,  salute  first  the  busts  of  the  Medici, 
for  they  were  its  founders.  In  the  tribune  there  are 
some  good  things.  Do  not  fail  to  see  aU  the  painted 
churches,  which  are  quite  beyond  belief, — ^Maria  hTo- 
vella,  St.  Annunziata  (you  must  see  Andrea  del  Sarto 
there ; remark  also  Fra  Bartolommeo  falling  backwards 
down-stairs  from  terror,  because  the  angel  has  already 
^ been  painting  on  his  canvas).  Examine  also  this  said 
angel’s  painting  in  the  “Annunciation  ” of  Fra  Barto- 
lommeo ; it  is  very  fine  (Hensel  laughs). 


166 


MENDELSSOHN  S LETTERS. 


To  St.  Marco,  the  Academy,  etc.  etc. 

If  the  site  of  Brunelli’s  statue,  near  the  Duomo,  does 
not  please  you,  I can’t  help  you.  The  Duomo  itself  is 
not  bad.  Walk  about  a great  deal. 

Milan. — Don’t  fail  to  go  to  the  top  of  the  cathedral, 
on  account  of  the  rnillions  of  pinnacles,  and  the  splendid 
view. 

Genoa. — It  is  pleasant  to  be  in  the  Yilletta  Negri  at 
nightfall. 

Betwixt  Genoa  and  Florence^  see  everything.  Do  not 
miss  visiting  the  church  of  St.  Francesco  in  Assisi,  on 
any  account  whatever.  The  same  with  regard  to  all 
Perugia. 

Drink  a flask  of  aleatico  in  Florence,  and  add  another 
of  vino  santo. 

Borne. — Holy  week ; be  as  weary  as  you  please  du- 
ring the  whole  chanting  of  the  Psalms,  it’s  no  matter, 
but  listen  carefully  when  they  intone  the  last  “ Dene- 
dictus  Dominus  Israel,” — all  four  voices  unisono  fortis^ 
simo  in  D minor : it  sounds  very  grand.  Observe  the 
strange  modulations  produced  by  chance,  when  one 
unmusical  priest  after  another  takes  the  book  and 
sings ; the  one  finishing  in  D major,  and  the  other 
commencing  in  B flat  minor.  Above  aU,  see  and  hear 
everything  in  the  Sistine  Chapel,  and  write  some  melo- 
dies, or  something,  from  thence  to  your  F.  M.  B.  Grreet 
old  Santini.  Feast  your  eyes  on  the  brilliant  aspect  of 
the  chapel  on  Palm  Sunday,  when  all  the  Cardinals  are 
robed  and  carry  palms,  and  when  the  procession  with  the 
singers  arrives.  The  “ Improperia,”  on  Good  Friday,^ 
in  B flat  major,  are  very  fine.  Notice  when  the  old 
Cardinal  sings  the  “ Credo  ” the  first  day  of  Easter, 


NOTES  ON  ITALY. 


167 


and  all  the  bells  ring  out,  and  the  ceremony  becomes 
all  alive  once  more,  with  cannon-shots,  etc.  etc.  Drive 
to  the  Grotta  ferrata^  it  is  really  quite  too  lovely,  and 
all  painted  by  Domenichmo.  Don’t  forget  the  echo 
near  Cecilia  Metella.  The  tower  stands  to  the  left  of 
the  road.  In  the  same  direction,  about  fifty  yards 
further,  among  some  old  ruined  walls  and  stones,  there 
is  the  most  perfect  echo  I ever  chanced  to  meet  with 
in  my  hfe ; it  seems  as  if  it  never  would  cease  muttering 
and  murmuring.  It  begins  in  a slight  degree,  close 
behind  the  tower,  but  the  further  you  proceed,  the 
more  mystical  it  becomes.  You  must  try  to  find  the 
right  spot.  Learn  to  distinguish  between  the  different 
orders  of  monks. 

Naples. — When  there  is  a storm  at  Chiatamone,  and 
the  gray  sea  is  foaming,  think  of  me.  Don’t  fail  to 
live  close  to  the  sea.  I lived  at  Santi  Combi,  Santa 
Lucia  (I  think  Ho.  13),  it  was  most  lovely  there.  Be 
sure  you  go  from  Castellamare  to  Amalfi,  over  Mount 
St.  Angelo.  It  is  the  chief  highway  of  all  Italy. 
Proceed  from  Amalfi  to  Atrani,  and  see  the  church 
there,  and  then  view  the  whole  glorious  landscape  from 
above.  Hever  get  overheated.  And  never  fly  into  a 
passion.  And  never  be  so  dehghted  as  to  agitate  your- 
self Be  wonderfully  haughty  and  stately  ; all  the 
beauty  is  there  for  you  only. 

Eat,  as  a salad,  brocoli  with  ham,  and  write  to  me  if 
It  is  not  capital.  So  far  my  good  advice.  Enough  for 
to-day.  Farewell,  dearest  Fanny,  and  dear  Hensel 
family  all.  We  think  of  you  daily  and  hourly,  and 
rejoice  in  your  good  fortune  and  in  your  enjoyment. 

Felix. 


168 


MENDELSSOHN^S  LETTERS. 


To  Professor  Naumann,  Bonn. 

Leipzig,  September  19th,  1839. 

Sir. 

Pray  accept  my  thanks  for  the  great  proof  of  confi- 
dence you  show  me,  by  the  purport  of  your  esteemed 
letter  of  the  12th  of  this  month.  Believe  me,  I 
thoroughly  appreciate  it,  and  can  indeed  feel  how  impor- 
tant to  you  must  be  the  development  and  future  destiny 
of  a child  so  beloved  and  so  talented.  My  sole  wish  is, 
like  your  own,  that  those  steps  should  be  taken,  best 
calculated  to  reward  his  assiduity  and  to  cultivate  his 
talents.  As  an  artist,  I consider  this  to  be  my  duty^ 
but  in  this  case  it  would  cause  me  peculiar  pleasure, 
from  its  recalling  an  early  and  happy  period  of  my  life. 

But  I should  unworthily  respond  to  your  confidence, 
did  I not  communicate  frankly  to  you  the  many  and 
great  scruples  which  prevent  my  immediately  accepting 
your  proposal.  In  the  first  place,  I am  convinced,  from 
repeated  experience,  that  I am  totally  deficient  in  the 
talent  requisite  for  a practical  teacher,  and  for  giving 
regular  progressive  instruction;  whether  it  be  that  I 
take  too  little  pleasure  in  tuition,  or  have  not  sufficient 
patience  for  it,  I cannot  tell,  but,  in  short,  I do  not 
succeed  in  it.  Occasionally,  indeed,  young  people  have 
stayed  with  me,  but  any  improvement  they  have 
derived  was  solely  from  our  studying  music  together, 
from  unreserved  intercourse,  or  casual  conversation  on 
various  subjects,  and  also  from  discussions;  and  none 
of  these  things  are  compatible  with  actual  teaching. 
Now  the  question,  is,  whether  in  such  early  youth  a 
sonsecutive,  unremitting,  strict  course  of  discipline  be 


VIEWS  OF  EDUCATION. 


169 


not  of  more  value  than  all  the  rest  ? It  also  appears  to 
me  that  the  estrangement  of  your  son  from  the  pater- 
nal roof  just  at  his  age  forms  a second,  and  not  less 
important,  objection.  Where  the  rudiments  of  educa- 
tion are  not  wholly  wanting  (and  the  talents  of  your 
wife  alone  are  a security  against  this),  then  I consider 
that  the  vicinity  of  his  parents,  and  the  prosecution  of 
the  usual  elements  of  study,  the  acquirement  of 
languages,  and  the  various  branches  of  scholarship  and 
science,  are  of  more  value  to  the  boy  than  a one-sided, 
even  though  more  perfect,  cultivation  of  his  genius.  In 
any  event  such  genius  is  sure  to  force  its  way  to  the 
light,  and  to  shape  its  course  accordingly,  and  in  riper 
years  will  submit  to  no  other  permanent  vocation,  so 
that  the  early  acquired  treasures  of  interest,  and  the 
hours  enjoyed  in  early  youth  under  the  roof  of  a parent, 
become  doubly  dear. 

I speak  in  this  strain  from  my  own  experience,  for  I 
can  well  remember  that  in  my  fifteenth  year  there  was 
a question  as  to  my  studying  with  Cherubini  in  Paris, 
and  I know  how  grateful  I was  to  my  father  at  the 
time,  and  often  since,  that  he  at  last  gave  up  the  idea, 
and  kept  me  with  himself.  It  would  of  course  be  very 
different  if  there  were  no  means  in  Bonn,  of  obtaining 
good  and  solid  instruction  in  thorough-bass  and  the 
piano;  but  this  I cannot  beheve,  and  whether  that 
instruction  be  rather  better  or  more  intellectual  (provid- 
ed it  be  not  positively  objectionable)  is  of  less  moment 
when  compared  with  the  advantages  of  a longer  stay 
in  his  own  home.  Further,  my  life  hitherto  has  been 
so  unsettled,  that  no  summer  has  passed  without  my 
taking  considerable  journeys,  and  next  year  I shall 
15 


170 


Mendelssohn’s  letters. 


probably  be  absent  from  here  for  five  or  six  months , 
this  change  of  associations  would  only  be  prejudicial  to 
youthful  talent.  The  young  man,  therefore,  must 
either  remain  here  alone  all  summer  or  travel  with  me ; 
and  neither  of  these  is  advisable  for  him. 

I state  all  these  disadvantages,  because  I am  myself 
so  well  aware  of  them,  and  fully  estimate  the  import- 
ance of  the  subject.  If  you  do  not  participate  in  my 
views  on  mature  consideration,  and  are  still  of  opinion 
that  I alone  can  assist  your  boy  in  the  attainment  of 
his  wish,  then  I repeat  that  in  any  case  (irrespective  of 
this)  I should  esteem  it  my  duty  to  be  useful  and 
serviceable,  so  far  as  my  ability  goes,  to  a youthful 
genius,  and  to  contribute  to  his  development  by  the 
exercise  of  my  own  powers ; but,  even  in  this  event, 
a personal  interview  is  indispensable,  if  only  for  a few 
hours,  in  order  to  arrange  everything  clearly,  and  until 
then  I cannot  give  an  unqualified  consent. 

Were  you  to  bring  the  lad  to  me  at  Easter,  I fear  I 
should  have  already  set  off  on  my  summer  excursion. 
Indeed,  the  only  period  when  I am  certain  to  be  in 
Leipzig  is  from  autumn  till  Easter.  I quite  agree  with 
Madame  hTaumann,  that  it  is  most  essential  to  cultivate 
pianoforte-playing  at  present  as  much  as  possible,  and 
not  to  fail  in  studying  Cramer’s  exercises  assiduously 
and  steadily ; but  along  with  this  daily  training  on  the 
piano,  two  hours  a week  devoted  to  thorough-bass 
might  be  useful,  as  such  a variety  would  be  a pleasant 
change,  rather  than  an  interruption.  The  latter  study 
indeed  ought  to  be  pursued  in  an  easy  and  almost 
playful  manner,  and  chiefly  the  practical  part,  that  of 
deciphering  and  playing  figured  bass;  these  are  the 


LETTER  FROM  PARIS. 


171 


main  points,  and  can  be  entirely  mastered  in  a short 
time ; but  the  sooner  it  is  begun,  the  sooner  is  it  got 
quit  of,  and  this  is  always  a rehef  with  such  dry  things. 
And  now  once  more  accept  my  thanks  for  the  trust  you 
have  reposed  in  me,  which  I thought  I could  only 
adequately  respond  to  by  entire  sincerity. — I am,  your 
faithful 

Felix  Mendelssohn  Bartholdy. 


To  I.  Moscheles,  London. 

Leipzig,  November  30th,  1839. 

My  dear  Friend, 

Your  letter  from  Paris  delighted  me  exceedingly, 
although  the  proceedings  you  describe  are  not  very 
gratifying.  The  state  of  matters  there  must  be  very 
curious.  I own  that  I always  felt  a kind  of  repugnance 
towards  it,  and  this  impression  has  not  been  diminished 
by  all  we  have  recently  heard  from  thence.  Nowhere 
do  variety  and  outward  consideration  play  so  promi- 
nent a part  as  there,  and  what  makes  the  case  still 
worse  is,  that  they  not  only  coquet  with  orders  and 
decorations,  but  with  artistic  inspiration  and  soul.  The 
very  great  inward  poverty  which  this  betrays,  along 
with  the  outward  glitter  of  grandeur  and  worldly  im- 
portance which  such  miseres  assume,  is  truly  revolting 
to  me,  even  when  I merely  read  of  them  in  a letter.  I 
infinitely  prefer  our  G-erman  homeliness  and  torpor  and 
tobacco-pipes,  though,  indeed,  I can’t  say  much  in 
their  favour  since  the  recent  events  in  Hanover,  in 


172 


Mendelssohn’s  letters. 


wMcli  I am  deeply  interested,  though  I grieve  to  say 
they  do  not  exhibit  our  Fatherland  in  a pleasing  aspect ; 
so  that  neither  here  nor  there  is  life  at  present  very 
enjoyable:  therefore  we  ought  the  more  heartily  to 
thank  Grod  that  within  the  domain  of  art  there  lies  a 
world  far  removed  from  all  besides;  solitary,  yet  re- 
plete with  life,  where  refuge  is  to  be  found,  and  where 
we  can  feel  that  it  is  well  with  us. 

Chorley  seems  to  have  taken  great  pleasure  in  our 
concerts.  On  what  a splendid  scale  we  could  have 
them  if  a very  little  money  were  only  forthcoming  I 
but  this  hateful  money  is  a hindrance  and  a stumbling- 
block  all  over  the  world,  and  we  do  not  get  forward  as 
we  ought.  On  one  side  we  have  the  worthy  civilians, 
who  think  that  Leipzig  is  Paris,  and  that  everything  is 
admirable,  and  that  if  the  members  of  the  orchestra 
were  not  starving  it  would  no  longer  be  Leipzig ; and 
on  the  other  side  we  have  the  musicians,  or  rather  they 
leave  us  as  soon  as  they  possibly  can,  and  I give  them 
letters  to  you  in  the  hope  that  they  may  be  thus  rescued 
from  their  misery. 

I have  not  assisted  Pott’s  undertaking  by  any  musi- 
cal contribution.  If  you  could  only  see  the  detestable 
proceedings  in  Germany  at  present  with  regard  to 
monuments,  you  would  have  given  nothing,  either. 
They  speculate  on  great  men,  in  order,  through  their 
reputation,  to  make  a name  for  themselves,  and  trum- 
pet forth  in  the  newspapers,  while  with  their  real  trum- 
pets they  make  very  bad  music,  ^^as  deadening  as  a 
foggy  breeze.”  If  Halle  for  Handel,  Salzburg  for  Mo- 
zart, and  Bonn  for  Beethoven,  etc.,  are  really  desirous 
to  form  good  orchestras,  capable  of  playing  and  com- 


MONUMENTS  TO  MUSICIANS. 


173 


prehending  thoroughly  their  works,  then  I shall  be  de- 
lighted to  give  them  my  aid,  but  not  for  mere  stones, 
when  the  orchestra  are  themselves  even  more  worthless 
stones,  and  not  for  their  conservatoriums^  where  there 
is  nothing  worth  conservation.  My  present  hobby  is 
our  poor  orchestra  and  its  improvement.  By  dint  of 
incessant  running  to  and  fro,  writing,  and  tormenting 
others,  I have  at  last  contrived  to  scrape  together 
about  five  hundred  thalers^  and  before  I leave  this  I ex- 
pect to  get  twice  that  sum  for  them.  If  the  town 
does  this,  it  can  then  proceed  to  erect  a monument  to 
Sebastian  Bach,  in  fi:ont  of  the  Thomas  School.  But 
first  of  all,  the  money.  You  see  I am  a rabid  Leip- 
ziger.  It  would  touch  your  feelings,  too,  if  you  saw 
all  this  close  at  hand,  and  could  hear  how  the  people 
strain  every  nerve  to  accomplish  what  is  really  good. 

Has  Onslow  written  anything  new  ? and  old  Cheru- 
bini ? That  is  a matchless  fellow  I I have  got  his 
“ Abencerrages,”  and  cannot  sufficiently  admire  the 
sparkling  fire,  the  clever  original  phrases,  the  extraor- 
dinary delicacy  and  refinement  with  which  the  whole 
is  written,  or  feel  sufficiently  grateful  to  the  grand  old 
man  for  it.  Besides,  it  is  all  so  free  and  bold  and 
spirited. 


15* 


174 


Mendelssohn’s  letters. 


To  Fanny  Hensel,  Eome. 

Leipzig,  January  4th,  1840. 
This  little  page  shall  go  to  Eome  from  here, 

And  wish  you  prettily  a good  new  year. 

You  see  my  letter  begins  in  the  true  ballad-monger 
style ; if  you  chance  to  be  in  the  Coliseum  at  the  mo- 
ment you  receive  it,  the  contrast  will  be  rather  gro- 
tesque. Whereabouts  do  you  live  in  Eome  ? Have 
you  eaten  broccoli  and  ham  ? or  zuppa  Inglese  f Is 
the  convent  of  San  Griovanni  and  Paolo  still  standing  ? 
and  does  the  sun  shine  every  morning  on  your  buttered 
roll  ? I have  just  played  to  Ferdinand  Hiller  your  Ca- 
prices in  B flat  major,  Gr  major,  E major,  and  F major, 
which  surprised  us  both ; and  though  we  tried  hard  to 
detect  the  cloven  foot  in  them,  we  could  not  do  so, — 
all  was  unmixed  dehght.  Then  I vowed  at  last  to 
break  through  my  obstinate  silence.  Pray  forgive  it  I 
It  happened  thus.  First  came  the  christening,  and 
with  it  my  mother  and  Paul.  In  the  meantime  the 
sabscription  concerts  had  begun ; then  my  mother  left 
us ; then  Paul,  a fortnight  later ; then  came  Hiller  to 
stay  with  us,  intending  to  remain  a week,  heard  a 
couple  of  rehearsals,  and  decided  to  remain  the  whole 
winter,  for  the  purpose  of  completing  his  oratorio  of 
Jeremiah,”  and  producing  it  here  in  March ; then 
came  an  abominable  cold  and  catarrh,  which  for  three 
weeks  confined  me  to  bed,  or  to  my  room,  but  always 
in  very  bad  humour  ; then  came  Breitkopf  and  Hartel, 
begging  to  have  the  manuscript  of  my  second  set  of 
four-part  songs,  which  they  have  now  got,  and  the 


OBJECTS  OF  INTEREST  AT  ROME. 

trio,  which  they  have  not  yet  got ; then  came  tne  copy- 
ist, petitioning  for  the  score  of  the  new  Psalm,  whicn 
was  performed  most  gloriously  the  day  before  yester 
day,  as  a commencement  to  the  new  year’s  concert 
then  came  116  friends ; then  came  Madame  Pleyel,  wK 
counts  for  216  more,  and  she  played  the  piano  righ 
well ; then  came  Christmas,  to  which  I was  forced  tc 
contribute  fourteen  gifts,  some  musical,  some  pictorial 
some  practical,  and  some  juvenile ; and  now  comes  the 
benefit  concert  of  Madlle.  Meerti:  so  here  you  have  an 
dbrege  of  my  Jiistoire  universelle  since  my  last  letter. 

But  teU  me,  for  Heaven’s  sake,  what  are  you  doing 
at  Kome  ? “ The  finest  part  of  the  old  hole  is  it.s  situa- 

tion,” said  G-eneral  Lepel  once;  but  he  is  mistaken. 
There  are  still  greater  charms  within  her  walls.  What 
do  you  say,  by  the  by,  to  the  drone  of  the  Pifferari^ 
whom  the  painters  paint  so  admirably,  and  which  pro- 
duce such  indescribable  sensations  in  every  nose,  wliile 
sounding  through  it  ? — and  to  the  church  music  in  St. 
Luigi  dei  Francesi  and  others  ? I should  like  to  hear 
you  on  that  subject.  Can  you  tell  me  the  names  of  all 
the  Cardinals  from  a mere  glimpse  of  their  hoods  or 
trains  ? I could  do  tliis.  When  you  are  with  a certain 
Madame  by  Titian  in  the  Sciarra  Palace,  and  with  two 
other  certain  Mesdames  also  by  him  (the  one  in  a state 
of  nature,  the  other  unfortunately  not)  in  the  Borghese 
Palace,*  or  with  the  Galatea,”  or  any  other  Raphael, 
if  you  do  not  then  think  of  me  and  wish  I were  in 
Rome,  I shall  assuredly  in  that  case  wish  you  were  the 
Marchesa  Muti  Papazurri,  whose  breadth  is  greater 


* Earthly  aud  Heavenly  Love.’ 


176 


Mendelssohn’s  letters. 


than  her  height,  and  that  is  five  feet  six  inches.  I will 
now  give  you  some  advice.  Gro  to  Monte  Testaccio, 
and  settle  yourself  comfortably  in  one  of  the  little  inns 
there ; you  will  feel  precisely  the  same  as  if  you  were 
in  Rome.  If  you  have  already  seen  Gruido’s  “ Aurora,” 
be  sure  you  go  to  see  it  again.  Mark  well  the  horrible 
fifths  of  the  Papal  singers  when  they  adorn  each  of 
their  four  parts  at  the  same  moment  with  flourishes. 
On  a fine  Sunday,  go  on  walking  the  whole  day,  till  the 
sun  sets,  and  it  becomes  cool ; then  come  down  from 
Monte  Pincio,  or  wherever  you  may  be,  and  have  your 
dinner.  Compose  a vast  deal,  for  it  gets  on  famously 
at  Rome.  Write  me  soon  a long  letter.  Look  out  of 
the  windows  of  any  convent  near  the  Lateran,  towards 
the  Albano  mountains.  Count  the  houses  in  Frascati 
in  the  sunshine  ; it  is  far  more  beautiful  there  than  in 
all  Prussia  and  Poland  too. 

Forgive  this  harebrained  letter,  for  I could  not  make 
it  better.  Farewell,  dearest  Fanny.  May  Grod  bless 
you,  and  your  journey,  and  your  whole  year;  and  con- 
tinue to  love  your  Felix 


To  I.  Furst,  Berlin. 

{On  the  subject  of  a Libretto  that  he  was  writing  for  an  Opera.) 

Leipzig,  January  4th,  1840 

Dear  Fiirst, 

You  upbraid  me  extravagantly  in  the  beginning  of 
your  welcome  letter,  but  at  its  close  you  draw  so  admi- 
rable a moral,  that  I have  only  to  thank  you  anew  for 


LIBRETTO  FOR  AN  OPERA. 


iV? 

the  whole.  You  do  me  injustice  in  suggesting  that  my 
sole  reason  for  wishing  to  see  the  scenarium  is  that  I 
may  raise  difficulties  from  the  starting-point,  and  bring 
the  child  into  the  world  forthwith  in  its  sickly  condition. 

It  is  precisely  on  opposite  grounds  that  I wish  this, 
in  order  to  obviate  subsequent  difficulties  and  organic 
maladies.  If  these  are,  as  you  declare,  born  with  him, 
it  is  best  to  abstract  them  from  the  child,  while  it  is 
still  possible,  without  injuring  every  part ; if  the  injury 
admits  of  a remedy  at  all,  it  can  now  be  cured,  without 
attacking  the  whole  organization. 

No  longer  to  speak  figuratively,  what  deters  me,  and 
has  always  hitherto  deterred  me,  from  the  composition 
of  a libretto^  is  neither  the  verse,  nor  the  individual 
words,  nor  the  mode  of  handling  (or  whatever  you  call 
it),  but  the  course  of  the  action,  the  dramatic  essence,  the 
march  of  events, — ^in  short,  the  scenarium.  If  I do  not 
consider  this  to  be  good  and  solid  in  itself,  then  my 
firm  conviction  is  that  the  music  will  not  be  so  either, 
nor  the  whole  satisfy  the  pretensions  that  I must  make 
in  executing  such  a work,  though  they  may  indeed 
entirely  difier  from  those  which  are  usually  made,  and 
from  those  of  the  public.  But  I have  long  since  given 
up  all  idea  of  conforming  to  their  tastes,  simply  for  this 
reason,  that  it  is  impossible ; so  I must  follow  the 
dictates  of  my  own  conscience,  now  as  ever. 

Blanche’s  text  can  never,  even  with  the  best  will  on 
both  sides,  become  such  a work  as  I want ; I am  almost 
disposed  to  give  up  my  purpose  as  utterly  hopeless.  I 
would  rather  never  compose  an  opera  at  all,  than  one 
which  from  the  very  commencement  I considered  only 
indifferent;  moreover,  I could  not  possibly  compose  for 


178 


Mendelssohn’s  letters. 


such  a one,  were  you  to  give  me  the  whole  kingdom  of 
Prussia  to  do  so.  All  this,  and  the  many  annoyances, 
certain  to  occur  at  the  completion  of  a text,  if  I should 
not  feel  disposed  to  undertake  it,  render  it  my  duty  to 
proceed  step  by  step,  and  rather  to  move  too  slowly 
than  too  hastily ; on  this  account  I have  resolved,  unless 
we  first  agree  about  the  scenarium^  never  to  beguile 
any  poet  into  undertaking  so  laborious  a work,  which 
may  after  all  prove  vain.  This  scenarium  may  be  prolix 
or  brief,  detailed  or  merely  sketched^;— on  these  points 
I do  not  presume  to  dictate,  and  quite  as  little,  whether 
the  opera  should  be  in  three,  four,  or  five  acts ; if  it  be 
really  good,  just  as  it  is  written,  then  eight  acts  would 
not  be  too  many  for  me,  nor  one  too  few ; and  I say 
the  same  as  to  a ballet  or  no  ballet.  The  only  criterion 
is,  whether  it  harmonizes  or  not  with  the  musical  and 
other  existing  feelings  of  my  nature ; and  I believe 
that  I am  able  to  discern  this  quite  as  well  from  the 
scenarium  as  from  the  finished  text,  and  that  is,  more- 
over, a point  which  no  one  can  decide  save  myself 
personally. 

I have  thus  placed  the  whole  truth  before  you,  and 
Heaven  grant  that  all  these  things  may  not  deter  you 
from  writing  an  opera,  that  you  may  also  intrust  it  to 
me  for  composition,  and  that  I may  at  length  through 
you  see  a long-cherished  wish  fulfilled.  I need  not  tell 
you  how  eagerly  I shall  await  your  decision. — ^Yours, 
Felix  Mendelssohn  Bartiioldv. 


MUSIC  AT  LEIPZIG. 


179 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  February  7th,  1840. 

Dear  Brother, 

Every  word,  alas  1 that  you  write  about  Berlin  and 
the  course  of  things  there,  corresponds  but  too  well 
with  my  own  views  on  the  subject.  The  proceedings 
there  are  far  from  gratifying,  and  what  strikes  me  as 
the  most  hopeless  part  is,  that  all  its  inhabitants  are  of 
one  accord  on  the  subject,  and  yet,  in  spite  of  this  uni- 
versal feelmg,  no  change  to  what  is  good  and  healthy 
is  ever  effected.  But  where  cannot  the  individual  man 
Hve  and  thrive  ? especially  in  Germany,  where  we  are 
all  compelled  to  isolation,  and  must,  from  the  very  first, 
renounce  all  idea  of  working  together  in  unison.  Still 
it  has  its  bright  side  and  its  original  aspect.  When 
are  you  coming  here  again  to  play  bilhards  with  us  ? I 
have  been  hving  a stirring  hfe  all  through  this  winter. 
Fancy  my  being  obliged  to  play  in  public  four  times 
last  week,  and  two  pieces  on  each  occasion.  Last 
Saturday  week,  the  first  Quartett  Soiree  took  place, 
where  pianoforte  music  was  introduced;  so  I played 
Mozart’s  sonata  in  A major,  with  David,  and  the  B flat 
major  trio  of  Beethoven.  On  Sunday  evening  Ernst 
played  four  quartetts  at  Hiller’s ; one  of  them  was  the 
E minor  of  Beethoven,  and  mine  in  E flat  major. 
Early  on  Monday  the  rehearsal  took  place,  and  in  the 
evening  the  concert,  where  I accompanied  him  in  his 
Elegie,”  and  in  three  songs  besides ; on  the  following 
Thursday,  Hiller  and  I played  Mozart’s  concerto,  writ- 
ten for  two  pianos,  into  which  we  introduced  two 
grand  cadenzo^^  and  at  the  close  of  the  second  part  of 


180 


Mendelssohn’s  letters. 


the  concert,  we  played  Moscheles’  duett  in  Q-  major.* 
The  Saturday  after,  I again  played  with  David  at  the 
Quartett  Soiree,  a new  rondo  of  Spohr’s,  and  wound 
up  with  my  trio.  In  addition,  we  are  to  have  a musi- 
cal soiree  at  D ’s,  a meeting  of  the  Liedertafel,  a 

ball,  etc.  etc. ; and  yet  with  all  this,  every  one  com- 
plains that  I persist  in  hving  so  retired.  Latterly  I 
have  become  quite  tired  of  music,  and  think  I must 
take  to  painting  once  more ; but  my  Swiss  sketches 
are  coming  to  an  end,  and  fain  would  I return  thither 
to  make  new  ones,  but  I already  see^  that  there  is  no 
hope  of  such  a thing  this  summer.  Hiller  lately  said 
that  I was  like  those  ancient  barbarians,  who  took  such 
delight  in  the  luscious  fruits  and  the  warm  sun  of  the 
South,  that  they  were  always  longing  for  them  once 
more  ; and  there  really  is  some  truth  in  this.  Would 
that  our  orchestra  had  not  so  many  attractions.  Yes- 
terday they  played  the  B flat  major  symphony  of  Bee- 
thoven famously.  In  the  course  of  a few  days  the 
choruses  (now  completed)  in  Hiller’s  oratorio  are  to  be 
rehearsed.  I feel  as  much  anxiety  on  the  subject  as  if 
they  were  my  own,  or  even  greater. 

Last  week  I had  an  agreeable  occupation,  which  was 
that  of  distributing  the  five  hundred  dollars,  granted  to 
the  orchestra,  amongst  its  various  members ; the  sum 
is  small  and  the  aid  trifling,  still  I felt  great  satisfaction 
in  having  even  accomplished  this  much.  Hext  year  I 
mean  to  begin  it  all  over  again,  and  then  I hope  to  do 
a real  service  to  the  musicians ; whether  they  thank 
me  or  not,  is,  after  all,  quite  a matter  of  indiflerence. 

Pray  send  for  a little  work  which  contains  the  most 


♦ “ Hommage  ^ Handel.’ 


LISZT  AND  THALBERG. 


181 


beautiful  and  interesting  descriptions  I have  read  for  a 
long  time.  They  are  Eastern  translations  by  Riickert, 
and  the  title  is  ^ Erbauliches  und  Beschauliches  aus  dem 
Morgenlande.’  If  this  book  does  not  delight  you  be- 
yond measure,  I will  never  recommend  one  to  you 
again.  Do  look  into  it  often,  for  it  is  most  extraordi- 
nary.— ^Your 

Felix. 


To  Ills  Mother. 

Leipzig,  March  30th,  1840. 

The  turmoil  of  the  last  few  weeks  was  overpowering. 
Liszt  was  here  for  a fortnight,  and  caused  quite  a 
paroxysm  of  excitement  among  us,  both  in  a good  and 
evil  sense.  I consider  him  to  be  in  reality  an  amiable 
warm-hearted  man,  and  an  admirable  artist.  That  he 
plays  with  more  execution  than  all  the  others,  does  not 
admit  of  a doubt ; yet  Thalberg,  with  his  composure, 
and  within  his  more  restricted  sphere,  is  more  perfect, 
taken  as  a virtuoso;  and  this  is  the  standard  which 
must  also  be  applied  to  Liszt,  for  his  compositions  are 
inferior  to  his  playing,  and,  in  fact,  are  only  calculated 
for  virtuosos.  A fantasia  by  Thalberg  (especially  that 
on  the  ‘‘  Donna  del  Lago  ”)  is  an  accumulation  of  the 
most  exquisite  and  delicate  effects,  and  a continued 
succession  of  difficulties  and  embellishments  that  excite 
our  astonishment ; all  is  so  well  devised  and  so  finished, 
carried  out  with  such  security  and  skill,  and  pervaded 
by  the  most  refined  taste. 

On  the  other  hand,  Liszt  possesses  a degree  of  velocity 
16 


182 


MENDELSSOHN  S LETTERS. 


and  complete  independence  of  finger,  and  a thoroughly 
musical  feeling,  which  can  scarcely  be  equalled.  In  a 
word,  I have  heard  no  performer  whose  musical  percep- 
tions, like  those  of  Liszt,  extended  to  the  very  tips  of 
his  fingers,  emanating  directly  from  them.  With  this 
power,  and  his  enormous  technicality  and  practice,  he 
must  have  far  surpassed  all  others,  if  a man’s  own  ideas 
were  not,  after  all,  the  chief  point,  and  these,  hitherto 
at  least,  seem  denied  to  him ; so  that  in  this  phase  of 
art  most  of  the  great  virtuosos  equal,  and  indeed  excel 
him.  But  that  he,  along  with  Thalberg,  alone  repre- 
sents the  highest  class  of  pianists  of  the  present  day, 
is,  I think,  undeniable.  Unhappily,  the  manner  in 
which  Liszt  has  acted  towards  the  public  here  has  not 
pleased  them.  The  whole  misunderstanding  is,  in  fact, 
as  if  you  were  listening  to  two  persons  disputing,  who 
are  both  in  the  wrong,  and  whom  you  would  fain  inter- 
rupt at  every  word.  As  for  the  citizens  in  general, 
who  are  angry  at  the  high  prices,  and  do  not  wish  to 
see  a clever  fellow  prosper  too  much,  and  grumble 
accordingly,  I don’t  in  the  least  care  about  them  ,*  and 
then  the  newspaper  discussions,  explanations,  and 
counter-explanations,  criticisms  and  complaints,  and  all 
kinds  of  things  are  poured  down  on  us,  totally  uncon- 
nected with  music ; so  that  his  stay  here  has  caused  us 
almost  as  much  annoyance  as  pleasure,  though  the  lat- 
ter was,  indeed,  often  great  beyond  measure. 

It  occurred  to  me  that  this  unpleasant  state  of  feel- 
ing might  be  most  effectually  allayed,  by  people  seeing 
and  hearing  him  in  private  ; so  I suddenly  determined 
to  give  him  a soiree  in  the  Gewandhaus,  of  three  hun- 
dred and  fifty  persons,  with  orchestra,  choir,  mulled 


liszt’s  private  soiree. 


183 


wine,  cakes,  my  “ Meeresstille,”  a Psalm,  a triple  con- 
certo by  Bach  (Liszt,  Hiller,  and  I),  choruses  from  St. 
Paul,”  fantasia  on  ‘‘  Lucia  di  Lammermoor,”  the  “ Eii 
King,”  the  deml  and  Ms  grandmother and  good- 
ness knows  what  else ; and  all  the  people  were  delight- 
ed, and  played  and  sang  with  the  utmost  enthusiasm, 
and  vowed  they  had  never  passed  a more  capital  even- 
ing; so  my  object  was  thus  happily  effected  in  a 
most  agreeable  manner. 

I have  to-day  formed  a resolution,  in  which  I heartily 
rejoice,  and  that  is,  never  again  to  take  any  part  as 
judge  of  the  prizes  at  a musical  competition.  Several 
proposals  of  this  kind  were  made  to  me,  and  I did  not 
know  why  I should  be  so  annoyed  by  these,  till  I clearly 
saw  that  it  was  in  fact  a display  of  arrogance  on  my 
part,  to  which  I would  not  myself  submit  from  others, 
and  should  therefore  carefully  avoid,  — thus  setting  one- 
self up  as  a proficient,  and  my  taste  as  incontrover- 
tible, and  in  idle  hour  passing  in  review  all  the  assem- 
bled competitors,  and  criticizing  them,  and,  God  knows, 
possibly  being  guilty  of  the  most  glaring  injustice 
towards  them.  So  I resolved  once  for  all  to  renounce 
the  office,  and  feel  quite  relieved  by  having  done  so. 


To  THE  Kreis-Director  von  Falkenstein,  Dresden. 

Leipzig,  April  8th,  1840. 

Sir, 

Emboldened  by  the  assurance  of  your  kind  feelings 
in  our  recent  conversation,  and  by  the  conviction  that 


184 


Mendelssohn’s  letters. 


you  have  sincerely  at  heart  the  condition  of  art  here, 
and  its  further  cultivation  (of  which  you  have  already 
given  so  many  proofs),  permit  me  to  lay  before  you  a 
question  which  seems  to  me  of  the  highest  importance 
to  the  interest  of  music. 

Would  it  not  be  possible  to  entreat  his  Majesty  the 
King  to  dispose  of  the  sum  bequeathed  by  the  late  Herr 
Bliimner  for  the  purpose  of  establishing  an  institution 
for  art  and  science  (the  investment  of  which  is  left  to  the 
discretion  of  his  Majesty),  in  favour  of  the  erection  and 
maintenance  of  a fundamental  music  academy  in  Leip- 
zig? 

Permit  me  to  make  a few  observations  on  the  import- 
ance of  such  an  institution,  and  to  state  why  I consider 
that  Leipzig  is  pecuharly  entitled  to  aspire  to  such  a 
one,  and  also  what  I consider  to  be  the  fitting  basis  for 
its  organization. 

For  a long  period  music  has  been  indigenous  in  this 
country,  and  the  sense  of  what  is  true  and  genuine,  the 
very  phase  which  must  be  nearest  the  heart  of  every 
ardent  and  thoughtful  friend  to  art,  has  at  all  times 
struck  its  roots  deep  into  this  soil.  Such  universal 
sympathy  does  not  certainly  come  by  chance,  nor  is  it 
without  influential  results  on  general  cultivation ; music 
having  thus  become  an  important  power,  not  as  a mere 
passing  enjoyment,  but  as  a more  elevated  and  intel- 
lectual requirement.  Those  who  feel  sincere  solicitude 
about  this  art  must  eagerly  wish  that  its  future  pros- 
pects in  this  land  should  rest  on  the  most  solid  founda- 
tion. 

The  positive,  technical,  and  material  tendencies  so 
prevalent  at  the  present  day  render  the  preservation  of 


PROPOSAL  FOR  AN  ACADEMY  OF  MUSIC. 


185 


a genuine  sense  of  art,  and  its  further  advancement, 
of  twofold  importance,  but  also  of  twofold  diflS.culty. 
A solid  basis  alone  can  accomplish  this  purpose ; and  as 
the  extension  of  sound  instruction  is  the  best  mode  of 
promoting  every  species  of  moral  improvement,  so 
it  is  with  music  also.  If  we  had  a good  music  aca- 
demy,— embracing  all  the  various  branches  of  this  art, 
and  teaching  them  from  one  sole  point  of  view,  as  only 
the  means  to  a higher  end, — then  the  practical  and 
material  tenets,  which,  alas  I can  number  even  among 
our  artists  many  influential  adherents,  might,  no  doubt, 
yet  be  effectually  checked. 

Mere  private  instruction,  which  once  bore  much  good 
fruit  for  the  world  at  large,  on  many  accounts  now  no 
longer  suffices.  Formerly,  students  of  various  instru- 
ments were  to  be  found  in  every  class  of  society, 
whereas  now  this  amateurship  is  gradually  passing  away, 
or  is  chiefly  confined  to  one  instrument, — the  piano. 

Scholars  desirous  of  enjoying  further  instructions  al- 
most invariably  consist  of  those  who  propose  devoting 
themselves  to  this  branch  of  art,  and  who  rarely  possess 
the  means  of  paying  for  private  lessons.  The  most 
admirable  talent  is  indeed  often  to  be  found  amongst 
this  class ; but,  on  the  other  hand,  teachers  are  seldom 
placed  in  such  fortunate  circumstances  as  to  be  able  to 
devote  their  time,  without  remuneration,  to  the  training 
of  even  the  finest  genius ; thus  both  sides  endure  priva- 
tion,— the  former  being  unable  to  obtain  the  wished 
for  instruction,  and  the  latter  losing  the  opportunity  of 
implanting,  and  practically  enforcing,  their  own  know- 
ledge. A public  institution  would,  at  this  moment,  be 
of  the  most  vital  importance  to  teachers  as  well  as  to 
16* 


186 


Mendelssohn’s  letters. 


pupils ; and  the  latter  -would  thus  acquire  the  means  of 
improving  capabihties  which  otherwise  must  often 
remain  undeveloped  and  wasted;  while,  for  the  teachers 
of  music,  such  a standard  of  combined  action  from  one 
point  of  view,  and  for  the  attainment  of  one  purpose, 
would  also  be  advantageous,  as  the  best  remedy  against 
lukewarmness  and  isolation,  the  unfruitfulness  of 
which,  in  these  days,  is  but  too  apt  to  exercise  a ruin- 
ous influence  on  the  mind. 

In  Leipzig  the  need  of  a school  for  music,  in  which 
Art  may  be  pursued  with  conscientious  study  and  an 
earnest  mind,  is  deeply  felt ; and  for  various  reasons 
Leipzig  seems  peculiarly  suited  for  it.  The  university 
already  a central  locality  for  intellectual  aspiring  young 
men,  and  the  school  of  knowledge,  would,  in  many  re- 
lations, connect  itself  with  that  of  music.  In  most  of 
the  other  large  towns  of  G-ermany  public  amusements 
dissipate  the  mind,  and  exercise  an  injurious  influence 
over  the  young ; here,  however,  most  of  these  amuse- 
ments are  more  or  less  connected  with  music,  or  consist 
wholly  of  it ; thus  there  are  very  few  public  recreations 
except  those  allied  to  music ; so  this  institution  would 
benefit  both  the  cause  and  the  individual;  moreover, 
for  that  especial  branch  of  art  which  must  always 
remain  the  chief  basis  of  musical  studies — the  more 
elevated  class  of  instrumental  and  sacred  compositions 
— Leipzig,  by  its  very  numerous  concerts  and  oratorios, 
possesses  the  means  of  cultivating  the  taste  of  young 
artists  to  an  extent  that  few  other  German  cities  can 
offer. 

Through  the  lively  sympathy  with  which  the  princi- 
pal works  of  the  great  masters  for  the  last  fifty  years 


PROP^'SAL  FOR  AN  ACADEMY  OF  MUSIO. 


187 


have  been  received  and  acknowledged  here  (often  for 
the  first  time  in  G-ermany),  and  by  the  careful  atten- 
tion with  which  these  works  have  been  invariably 
executed,  Leipzig  has  assumed  a high  position  among 
the  musical  cities  of  our  Fatherland.  Lastly,  in  support 
of  this  petition  I may  add  that  Herr  Hofkriegsrath 
Blnmner,  who  cherished  so  great  a love  for  poetry 
and  the  poetical  in  every  art,  always  devoted  special 
attention  to  the  state  of  music  here,  and  indeed  took 
an  active  charge  in  the  direction  of  the  concerts,  in 
which  he  was  warmly  interested;  so  that  such  an 
apportionment  of  his  bequest  would  undoubtedly  be 
quite  in  accordance  with  the  artistic  feelings  of  the 
testator. 

While  other  establishments  of  public  utility  are  con- 
stantly encouraged,  and  some  even  richly  endowed,  the 
music  here  has  never  received  the  smallest  aid  from  any 
quarter.  The  musical  institution  in  the  capital  being 
supported  by  G-overnment,  is  it  not  then  peculiarly 
desirable  that  this  city  should  receive  the  sum  be- 
queathed by  one  of  its  inhabitants,  where  such  a boon 
would  be  received  with  peculiar  gratitude  on  every 
side  ? On  all  these  grounds,  may  his  Majesty  then  be 
graciously  disposed  not  to  refuse  the  fulfilment  of  a 
wish  so  warmly  cherished,  and  thus  impart  a new 
stimulus  and  a fi:esh  impulse  to  art.  It  would  give  an 
impetus  to  musical  fife  here,  the  effects  of  which  would 
speedily  and  enduringly  be  disseminated,  with  the  best 
influence. 

Allow  me  to  enclose  in  this  envelope  some  general 
outhnes  for  the  arrangement  of  such  a musical  academy, 
and  receive  the  assurance  of  the  distinguished  esteem 


188  MENDELSSOHN  S LETTERS. 

with  which  I have  the  honour  to  remain  your  devoted 
servant, 

Felix  Mendelssohn  Bartholdy. 


To  HIS  Mother. 

Leipzig,  August  10th,  1840. 

On  Thursday  I gave  an  organ  concert  here  in  the 
Thomas  Church,  from  the  proceeds  of  which  old  Sebas- 
tian Bach  is  to  have  a monument  erected  to  his  memory, 
in  front  of  the  Thomas  School.  I gave  it  solissimo^  and 
played  nine  pieces,  winding  up  with  an  extempore  fan- 
tasia. This  was  the  whole  programme.  Although  my 
expenses  were  considerable,  I had  a clear  gain  of  three 
hundred  dollars.  I mean  to  try  this  again  in  the  au- 
tumn or  spring,  and  then  a very  handsome  memorial 
may  be  put  up.*  I practised  hard  for  eight  days  pre- 
viously, till  I could  really  scarcely  stand  upright,  and 
executed  nothing  but  organ  passages  along  the  street 
ill  my  gait  when  I walked  out. 


To  Fanny  Hensel,  Berlin. 

Leipzig,  October  24th,  184C 

Dear  Fanny, 

I make  use  of  my  first  morning’s  leisure  since  my 
return  from  England,  to  thank  you  for  your  most  admi- 


♦ This  has  been  done.  The  monument  is  on  the  promenade,  under 
the  windows  of  Sebastian  Bach’s  rooms,  in  the  Thomas  School, 


GERMANY  AND  ITALY. 


189 


rable  and  charming  letter,  which  welcomed  me  on  my 
return  here.  When  I first  saw  it  lying,  and  broke  the 
seal,  I had  somehow  a kind  of  presentiment  that  it 
might  contain  some  bad  news  (I  mean,  something  mo- 
mentous). I don’t  know  how  this  was,  but  the  very 
first  lines  made  me  see  it  in  a very  different  light,  and 
I read  on  and  on  with  the  greatest  delight.  What  a 
pleasure  it  is  to  receive  such  a letter,  with  such  a flavour 
of  life  and  joy,  and  all  that  is  good!  The  only  tone  in 
a minor  key,  is  that  you  do  not  expect  to  like  Berlin 
much  after  Kome ; but  this  I consider  a very  transitory 
feeling;  after  a long  sojourn  in  Italy  where  could  any 
one  be  contented  ? There,  all  is  so  glowing  I and  our 
dear  G-erman  home  life,  which  I do  so  heartily  love, 
has  this  in  common  with  all  that  is  German  and  dear, 
that  it  is  neither  splendid  nor  brilliant,  but  its  stillness 
and  repose  only  the  more  surely  fascinate  the  heart. 
After  every  absence  I felt  just  the  same  when  the  joy 
of  the  first  days  of  reunion  was  past;  I missed  the 
variety  and  the  excitement  of  travelling  so  much,  that 
home  seemed  sadly  monotonous,  and  I discovered  all 
sorts  of  deficiencies,  whereas  during  my  journey  all  was 
perfect  and  all  was  good.  The  same  feelings  have  often 
recurred  to  me  recently  at  the  Leipzig  Liedertafel,  and 
at  the  innumerable  demands  and  intrusions,  etc.  etc. ; 
but  this  did  not  last,  and  was  certainly  only  a fallacy. 
All  that  is  good,  and  that  we  like  in  our  travels,  is,  in 
fact,  our  wonted  property  at  home,  only  we  there  exact 
a still  larger  portion.  If  we  could  only  preserve  through 
fife  the  fresh,  contented,  and  lofty  tone  of  feeling  which, 
for  the  first  few  days  on  returning  from  a journey,  leads 
us  to  look  at  every  object  with  such  satisfaction,  and 


190 


Mendelssohn’s  letters. 


on  the  journey  makes  us  rise  superior  to  all  annoy- 
ances,— if  we  could  only  remain  inwardly  in  this  buoy- 
ant travelling  spirit,  while  continuing  to  live  in  the 
quiet  of  home, — we  should  indeed  be  vastly  perfect! 
Instead  of  this,  last  night,  at  the  twenty-fifth  anniver- 
sary of  the  Liedertafel,  I was  as  angry  as  if  I had  been 
a young  boy.  They  sang  so  false,  and  talked  even  more 
falsely ; and  when  it  became  peculiarly  tiresome,  it  was 
in  the  name  of  our  German  Fatherland,”  or  “in  the 
good  old  German  fashion.”  Yet  when  I came  back 
from  England  I had  formed  such  a strong  resolution 
never  to  discompose  myself  about  anything,  and  to 
remain  entirely  neutral  1*  I was  eight  days  in  London, 
and  the  same  in  Birmingham,  and  to  me  the  period 
passed  like  a troubled  dream ; but  nothing  could  be 
more  gratifying  than  meeting  with  so  many  friends 
quite  unchanged.  Although  I could  only  see  them  for 
so  short  a time,  yet  the  glimpse  into  so  friendly  an 
existence,  of  which  we  hear  nothing  for  years,  but 
which  remains  stiU  linked  with  our  own,  and  will  ever 
continue  to  be  so,  causes  most  pleasurable  sensations. 

Of  course  I was  constantly  with  Klingemann  and 
Moscheles,  and  with  the  Alexanders  also,  where,  in  the 

* It  is  characteristic  of  both,  that  Mendelssohn’s  sister  set  the  fol- 
lowing poem  of  Goethe’s  to  music: — 

“Here  are  we  then,  my  friend,  at  home  once  morel 
And  tranquilly  reclines  the  artist’s  eye 
On  scenes  of  peace  and  love  from  door  to  door, 

Where  life  to  life  in  kindliness  draws  nigh. 

“ Back  with  our  household  gods,  here  are  we  then  I 
For  though  through  distant  regions  we  may  roam. 

From  all  these  ravishments  we  turn  again 
Back  to  the  magic  sphere  we  call  our  home.” 


FRIENDS  IN  ENGLAND. 


191 


most  elegant  rococo  drawing-rooms,  among  all  the  new- 
est and  most  fashionable  objects,  I found  my  father’s 
portrait,  painted  by  Hensel,  in  its  old  favourite  place, 
and  standing  on  its  own  little  table;  and  I was  with 
the  Horsleys  also,  and  in  mai^y  other  houses  where  I 
felt  happy  and  at  home ; when  I recall  my  excessive 
uneasiness  at  the  prospect  of  the  journey,  and  how  we 
paced  up  and  down  here  together  and  discussed  it, 
making  each  other,  in  fact,  only  mutually  more  nervous, 
and  yet  all  is  now  so  happily  over  and  I so  happily  re- 
turned to  my  family,  I ought  scarcely  to  do  anything 
all  day  long  but  rejoice  and  be  thankful, — instead  of 
which  I fly  into  a passion  with  the  Liedertafel,  and  you 
do  the  same  with  the  Art  Exhibition  I 

You  ask  me  whether  we  are  to  have  peace  or  war? 
How  have  I got  such  a fine  reputation  as  a news- 
monger ? Hot  that  I do  not  deserve  it,  for  I maintain 
through  thick  and  thin  that  we  shall,  have  peace,  but 
combined  with  much  warhke  agitation ; though  when 
a poUticus  by  profession  hke  Paul  is  in  the  family,  he 
must  be  applied  to.  He  may  say  what  he  likes,  but  no 
war  shall  we  have. 

Though,  when  I think  of  yesterday’s  Liedertafel,  I 
almost  wish  we  had  I 

Pray  write  again  soon,  my  very  dear  sister,  and  a 
long  letter. — Your 


Pelrx. 


192 


Mendelssohn’s  letters. 


To  HIS  Mother. 

Leipzig,  October  27th,  IWO 

Dear  Mother, 

A thousand  thanks  for  your  kind  letter,  received 
yesterday,  Avhich  was  truly  charming,  in  spite  of  the 
well-merited  little  hit  at  the  beginning.  I ought  indeed 
to  have  written  to  you  long  since  ; but  during  the  last 
three  months  you  can  have  no  idea  how  entirely  I have 
been  obliged  to  play  the  part  of  “ Hans  of  all  work.” 
There  are  trifling  minute  occupations,  too,  such  as 
notes,  etc.,  of  daily  recurrence,  wliich  seem  to  me  as 
tiresome  and  useless  in  our  existence  as  dust  on  books, 
and  which,  hke  it,  at  last  thickly  accumulate,  and  do 
much  harm,  unless  fairly  cleared  away  every  morning ; 
and  then  I feel  so  keenly  the  impulse  to  make  some 
progress  with  my  daily  labours  as  soon  as  I am  in  a 
happy  vein.  All  these  things  cause  the  weeks  and 
months  to  fly  past  like  the  wind. 

You  probably  already  know,  through  the  newspapers, 
that  we  had  recently  a*  second  performance  of  the 
Hymn  of  Praise  ” for  the  King  of  Saxony,  at  an  extra 
subscription  concert,  and  it  went  off  famously.  All  the 
music  was  given  with  such  precision  that  it  was  a real 
pleasure  to  listen  to  it.  The  King  sent  for  me  between 
the  parts,  which  obliged  me  to  pass  through  a double 
row  of  ladies  (you  know  the  arrangement  of  our  con- 
cert-room) in  order  to  reach  the  place  where  the  King 
and  his  Court  were  seated.  He  conversed  with  me  for 
some  time,  in  the  most  good-natured  and  friendly  man- 
ner, and  spoke  very  judiciously  about  music.  The 
Hymn  of  Praise  ” was  given  in  the  second  part,  and 


THE  KING  OF  SAXONY. 


193 


at  the  conclusion,  just  as  I had  quitted  mj  music-desk, 
I suddenly  heard  people  round  me  saying,  The  King 
is  coming  to  him  this  time ; ” and  he  was  in  fact  passing 
through  the  rows  of  ladies,  and  came  up  to  my  desk 
(you  may  imagine  what  universal  satisfaction  this 
caused).  He  spoke  to  me  in  so  animated  a manner, 
and  with  such  cordiahty  and  warmth,  that  I did  indeed 
feel  it  to  be  a great  pleasure  and  honour.  He  mentioned 
the  particular  passages  that  had  pleased  him  most,  and, 
after  thanking  all  the  singers,  he  took  his  departure, 
while  the  whole  orchestra,  and  the  whole  audience, 
made  the  very  best  bows  and  curtsies  they  could  ac- 
complish. Then  came  a hubbub  and  confusion  like 
Hoah’s  ark.  Perhaps  the  King  will  now  bestow  the 
^ tvfenty  thousand  thalers  which  I long  ago  petitioned 
might  be  given  towards  the  music  here.  In  that  case, 
I could  with  truth  say  that  I had  done  good  service  to 
the  music  of  Leipzig.* 

Eckert  has  returned  here  in  the  character  of  a zealous 
Prussian  patriot,  and  goes  nearly  as  far  as  the  Prussian 
Grovernment  paper,  wliich  declares  that  the  rain  which 
beat  in  the  King’s  face  only  fanned  his  fire  still  more. 
But  to  my  incredulous  grimaces  Eckert  replied  that 
you  were  quite  of  his  way  of  thinking,  and  had  charged 
■ him  to  let  me  know  this.  It  is  so  provoking  that  a 
distance  even  of  twenty  miles  should  exercise  so  irre- 
sistible an  influence,  and  that,  notwithstanding  all  the 
minute  descriptions  and  details  in  the  newspapers,  wo 
cannot  rightly  understand  the  proceedings  which  take 
place  in  your  presence,  and  vice  versa.  A thousand 
minutiae  are  involved  in  the  affair,  which  appear  irisig- 

* Sc©  the  letter  to  Herr  von  Falkenstoin,  April  SLh,  1840. 

17 


194 


Mendelssohn’s  letters. 


nificant,  and  are  consequently  omitted  by  the  narrator ; 
and  yet  they  are  the  links  that  connect  the  whole,  and 
the  chief  cause  of  many  of  these  events. 

So  far  as  I can  gather  the  real  meaning  of  it  all,  just 
so  far  does  it  displease  me,  and  that  is  perhaps  the  rea- 
son  why  I cannot  approve  of  all  the  other  fine  ad- 
juncts, down  to  the  “ fiery  rain”  of  the  Grovernment 
paper.  In  the  mean  while,  time  pursues  its  steady  jog- 
trot pace.  Thiers  is  no  longer  minister.  A number  of 
arrests  have  been  made  in  Frankfort,  and  Queen  Chris- 
tina is  welcome  to  my  little  room.  By  Heavens  I I 
would  at  this  moment  far  rather  be  a musician  than  a 
sovereign ! 

I say  nothing  about  the  silver  wedding  day  of  the 
Leipzig  Liedertafel,  for  I have  not  yet  recovered  from 
it.  Grod  help  us  I what  a tiresome  thing  our  Grerman 
Fatherland  is,  when  viewed  in  this  light ! I can  well 
remember  my  Father’s  violent  wrath  against  Lieder- 
tafels,  and  indeed  against  everything  at  all  connected 
with  Vetter  Michel ; and  I feel  something  similar 
stirring  within  me. 

Farewell,  dearest  mother. — Ever  your 

Felix. 


To  Fanny  Hensel,  Berlin. 

Leipzig,  November  14th,  1840. 

Dear  Fanny, 

My  brightest,  best,  and  most  heartfelt  good  wishes 
for  this  day  I Once  upon  a time,  I used  to  send  you  a 


BIRTHDAY  CONGRATULATIONS. 


195 


new  manuscript,  bound  in  green,  in  honour  of  the  occa- 
sion ; now  I must  content  myself  with  a more  scanty 
letter ; and  yet  the  old  custom  pleases  me  very  much 
better. 

No  doubt,  in  the  course  of  your  birthday,  you  too 
think  of  us  here ; but  that  does  not  mend  matters  much 
for  me.  This  evening,  at  the  recommencement  of  the 
Quartett  Soirees,  I am  to  play  to  the  Leipzigers  Mozart’s 
quartett  in  Gr  minor,  and  the  Beethoven  trio  in  D 
major,  and,  as  I already  said,  this  kind  of  birthday  cele- 
bration does  not  please  me ; it  will  be  very  differently 
commemorated  where  you  are.  Would  that  we  could 
be  with  you  I My  best  thanks  also  for  your  last  letter. 
Do  you  know,  I think  your  suggestion  as  to  the  “ M- 
belungen”  most  luminous!  It  has  been  constantly  in 
my  head  ever  since,  and  I mean  to  employ  my  first 
leisure  day  in  reading  over  the  poem,  for  I have  for- 
gotten the  details,  and  can  only  recall  the  general 
colouring  and  outlines,  which  seem  to  me  gloriously 
dramatic.  Will  you  kindly  communicate  to  me  your 
specific  ideas  on  this  subject  ? The  poem  is  evidently 
more  present  to  your  memory  than  to  mine.  I scarcely 
remember  what  your  allusion  means,  as  to  the  sinking 
into  the  Rhine.  Can  you  point  out  to  me  the  various 
passages  which  struck  you  as  particularly  dramatic, when 
the  idea  first  occurred  to  you  ? and,  above  all,  say  some- 
thing more  definite  on  the  subject,  as  the  whole  tone 
and  colouring,  and  characteristics,  take  my  fancy 
strongly ; therefore  I beg  of  you  to  do  so,  and  soon, 
too ; it  will  be  an  essential  service  to  me.  Refer 
entirely  to  the  poem  itself,  for  before  your  letter  can 
arrive  I shall  certainly  liave  read  it,  though  I shall  not 


196 


Mendelssohn’s  letters. 


the  less  eagerly  expect  your  opinion.  Accept  my 
thanks  for  this  happy  thought,  as  for  all  else. 

Yes!  the  arpeggios  in  the  chromatic  fantasia*  are 
certainly  the  chief  effect.  I take  the  liberty  to  play 
them  with  all  possible  crescendos^  and  pianos^  and  for- 
tissimos^ pedal  of  course,  and  to  double  the  notes  in  the 
bass ; further,  to  mark  the  small  passing  notes  at  the  be- 
ginning of  the  arpeggios  (the  crotchets  in  the  middle 
parts),  etc.,  and  likewise  the  principal  notes  of  the  me- 
lody just  as  they  come : rendered  thus,  the  succession 
of  glorious  harmonies  produces  an  admirable  effect  on 
our  rich-toned  new  pianos.  For  example,  the  com- 
mencement, merely  thus : — 

N.B. — Each  chord  plajed  in  double  arpeggios , afterwards  only 
once,  as  they  come. 


* By  Sebastian  Bach. 


CHROMATIC  FANTASIA  BY  BACH. 


197 


Then  to  the  end  thus : — 


People  vow  that  this  is  quite  as  fine  as  Thalberg,  and 
even  more  so.  Don’t  show  this  receipt,  however,  to 
17* 


198 


Mendelssohn’s  letters. 


any  one;  it  is  a mystery  like  all  domestic  receipts, 
When  you  see  Herr  v.  Zucalmaglio,  thank  him  for  his 
packet  and  the  letter  I received  from  him ; at  the  same 
time  (though  this  is  quite  between  ourselves),  I cannot 
compose  music  for  the  songs  he  sent  me;  they  are 
patriotic,  and  at  this  moment  I have  no  taste  whatever 
for  this  style  of  song, — they  might  cause  a great  deal 
of  bad  feeling;  and  in  the  present  state  of  things, 
people  seem  to  me  to  begin  to  sing  against  the  French, 
at  the  very  moment  when  they  must  know  that  the 
French  will  not  fight  against  them  : for  such  a purpose 
I have  no  music.  But  adieu  for  the  present.  I do  wish 
that  instead  of  being  obliged  to  dress,  and  to  go  through 
a vast  amount  of  music,  I were  going  across  to  you. 
We  could  play  at  Black  Peter,”  or  some  other  merry 
game,  and  eat  cakes. — Your 

Felix. 


To  Carl  Klingemann,  London. 

Leipzig,  November'  18th,  1840. 

My  dearest  Friend, 

I am  living  here  in  as  entire  quiet  and  sohtude  as  I 
could  possibly  desire ; my  wife  and  children  are  well, 
G-od  be  praised  I and  I have  work  in  abundance  ; what 
can  any  man  wish  for  beyond  this  ? I only  long  for  its 
continuance,  and  pray  that  Heaven  may  grant  it,  while 
I daily  rejoice  afresh  in  the  peaceful  monotony  of  my 
life.  At  the  beginning  of  the  winter,  however,  I had 
some  difficulty  in  avoiding  the  social  gatherings  which 


HYMN  OF  PRAISE. 


199 


bloom  and  thrive  here,  and  which  would  cause  both  a 
sad  loss  of  time  and  of  pleasure  if  you  were  to  accept 
them,  but  now  I have  pretty  well  succeeded  in  getting 
rid  of  them.  Moreover,  this  week  there  is  a fast,  so 
we  have  no  subscription  concert,  which  gives  us  a 
pleasant  domestic  season  of  rest.  My  ^‘Hymn  of 
Praise”  is  to  be  performed  the  end  of  this  month  for 
the  benefit  of  old  invalided  musicians.  I am  determin- 
ed, however,  that  it  shall  not  be  produced  in  the  imper- 
fect form  in  which,  owing  to  my  illness,  it  was  given  in 
Birmingham ; so  that  makes  me  work  hard.  Four  new 
pieces  are  to  be  added,  and  I have  also  much  improved 
the  three  sets  of  symphonies,  which  are  now  in  the 
hands  of  the  copyist.  As  an  introduction  to  the  chorus 
“Die  ISTacht  ist  vergangen,”  I have  found  far  finer 
words  in  the  Bible,  and  admirably  adapted  to  the 
music.  By  the  by,  you  have  much  to  answer  for  in 
the  admirable  title  you  hit  on  so  cleverly,  for  not  only 
have  I sent  forth  the  piece  into  the  world  as  a symphony 
cantata^  but  I have  serious  thoughts  of  resuming  the 
first  “ Walpurgis  hlacht”  (which  has  been  so  long  lying 
by  me)  under  the  same  cognomen,  and  finishing  and 
getting  rid  of  it  at  last.  It  is  singular  enough  that 
at  the  very  first  suggestion  of  this  idea  I should  have 
written  to  Berlin  that  I was  resolved  to  compose  a 
symphony  with  a chorus ; subsequently  I had  not 
courage  to  begin,  because  the  three  movements  were  too 
long  for  an  introduction,  and  yet  I never  could  divest 
myself  of  the  impression  that  something  was  wanting 
in  the  shape  of  an  introduction.  Now  the  symphony 
is  to  be  inserted,  according  to  my  original  intention, 
and  the  piece  brought  out  at  once.  Do  you  know  it  ? 


200 


Mendelssohn’s  letters. 


I scarcely  think  that  it  is  well  adapted  for  performance, 
and  yet  I like  it  much. 

The  whole  town  here  is  ringing  with  a song,  supposed 
to  haye  a political  tendency  against  the  French,  and 
the  journals  are  striving  with  all  their  might  to  render 
it  popular.  In  the  present  dearth  of  public  topics,  they 
succeed  in  this  without  any  difficulty,  and  every  one  is 
speaking  of  the  “ Rheinlied,”  or  the  Colognaise^  as  they 
significantly  call  it.  The  thing  is  characteristic,  for 
the  first  line  begins,  “ Sie  sollen  ihn  nicht  haben,  den 
freien  Deutschen  Ehein,”  and  at  the  commencement  of 
each  verse  is  repeated,  Never  shall  they  have  it,”  as 
if  there  were  the  least  sense  in  such  words  I If  they 
were  at  least  changed  into  We  mean  to  keep  it,” — 
but  “ Never  shall  they  have  it,”  seems  to  me  so  sterile 
and  futile.  There  is  certainly  something  very  boyish 
in  this  idea ; for  when  I actually  possess  an  object,  and 
hold  it  sure  and  fast,  it  is  quite  superfluous  to  sing,  or  to 
say,  that  it  shall  belong  to  no  one  else.  This  song  is 
now  sung  at  Court  in  Berlin,  and  in  the  clubs  and 
casinos  here,  and  of  course  the  musicians  pounce  upon 
it  like  mad,  and  are  immortalizing  themselves  by  setting 
it.  The  Leipzig  composers  have  already  brought  out 
no  less  than  three  melodies  for  it,  and  every  day  the 
papers  make  some  allusion  to  it.  Yesterday,  amongst 
other  things,  they  said  I had  also  set  the  song,  where- 
as I never  even  dreamt  of  meddhng  with  such  a merely 
defensive  inspiration. 

So  the  people  here  lie  like  print,  just  as  they  do  with 
you,  and  everywhere  else. 


THE  “RHEINLTED. 


201 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  November  20th,  1840. 

Dear  Paul, 

How  much  I wish  that  you  would  perform  your 
promise,  and  come  here  for  the  “ Hymn  of  Praise  ” ! I 
shall  be  glad  to  know  what  you  think  of  it,  and  to  hear 
if  it  pleases  you,  for  I own  that  it  lies  very  near  my 
heart.  I think,  too,  that  it  will  be  well  executed  by 
our  orchestra;  but  in  spite  of  this,  if  by  arriving  in 
time  for  its  performance  your  proposed  visit  must  be  in 
any  degree  shortened,  then  I would  urge  you  to  come 
on  some  other  occasion,  for  our  happy  quiet  intercourse 
must  always  form  the  chief  object  in  our  Leipzig  life, 
and  even  one  day  more  is  pure  gain.  If  indeed  both 
could  be  combined,  a visit  of  the  usual  length  and  the 
concert,  that  would  of  course  be  best  of  all.  The 
“ Hymn  of  Praise  ” is  to  form  the  second  part ; in  the 
first,  probably  Weber’s  “Jubilee  Overture”  will  be 
given,  Kreuzer’s  “ Pheinlied,”  and  some  other  pieces. 
I could  write  you  a long  complaint  about  this  said 
“ Pheinhed.”  You  can  have  no  idea  of  the  fuss  they 
make  about  it  here,  and  how  utterly  repugnant  to  me 
this  newspaper  enthusiasm  is ; to  make  such  a piece  of 
work  about  a song,  the  chief  burden  of  which  is,  that 
others  shall  not  deprive  us  of  what  we  have  already 
got, — truly  this  is  worthy  of  such  a commotion  and 
such  music  I I never  wish  to  hear  a single  note  of  it 
sung,  when  the  refrain  is  always  the  resolve  not  to 
give  up  what  you  possess.  Young  lads  and  timid  men 
may  make  this  outcry,  but  true  men  make  no  such 
piece  of  work  about  what  is  their  own ; they  have  it, 


202 


MENDEIiSSOHn’s  letters. 


and  that  suffices.  I felt  provoked  to  see  recently  in  a 
newspaper  that,  in  addition  to  four  compositions  on 
these  words,  one  by  me  had  just  appeared,  and  my 
name  was  printed  full  length;  yet  I cannot  give  a 
direct  contradiction  to  this,  for  as  regards  the  public  I 
am  dumb.  At  the  same  time  Hartel  sent  me  a message 
that  if  I would  compose  for  it,  he  would  undertake  to 
dispose  of  six  thousand  copies  in  two  months.  No, 
Paul,  I won’t  do  it.  May  we  soon  have  a happy  meet- 
ing!— Your  Felix. 


To  Paul  Mendelssohn  Bartholdt. 

Leipzig,  December  7th,  1840. 

Dear  Brother, 

Just  as  I was  about  to  write  to  you  yesterday,  to 
thank  you  cordially  again  and  again  for  the  fresh  proof 
of  your  true  brotherly  love  which  you  have  given  me,* 

* His  brother  had  gone  to  Leipzig,  at  the  instigation  of  the  Wirk- 
lich  Geheimrath  Herr  von  Massow,  to  negotiate  with  Mendelssohn 
the  subject  of  a situation  in  Berlin.  It  was  proposed  to  divide  the 
Academy  of  Arts  into  four  classes, — namely,  painting,  sculpture,  archi- 
tecture, and  music, — and  to  appoint  a director  for  each  class,  to  whom 
the  superintendence  of  the  Academy  should  be  intrusted  alternately, 
and  in  fixed  succession.  The  music  class,  for  which  Mendelssohn  had 
been  selected  as  Director,  was  to  cons»t  essentially  of  a large  Conserva- 
torium,  in  the  expectation  that,  in  connection  with  the  resources  of  the 
Royal  Theatre,  public  concerts,  partly  of  a sacred  and  partly  of  a 
secular  natui*e,  should  bo  given.  However  promising  Mendelssohn 
considered  this  project,  he  at  once  expressed  considerable  doubts, 
not  so  much  that  the  plan  could  not  be  carried  out,  but  that  it  would 
not  be  so;  and  the  result  proved  how  correct  his  judgment  was  on 
the  point. 


THE  BERLIN  ACADEMY  OF  MUSIC. 


203 


your  letter  arrived,  and  I can  only  repeat  the  same 
thing.  Even  if  the  affair  leads  to  nothing  further  than 
to  shov^^  me  (what  is  the  fact)  that  you  participate  in 
my  wish  once  more  to  pass  a portion  of  our  lives  to- 
gether, that  you,  too,  feel  there  is  something  wanting 
when  we  are  not  all  united  in  one  spot,  this  is  to  me 
invaluable,  and  more  gratifying  than  I can  express. 
Whether  it  be  attended  with  a happy  result  or  not,  I 
would  not  give  up  such  a conviction  for  anything  in 
the  world. 

Your  letter,  indeed,  demands  mature  deliberation, 
but  I prefer  replying  to  it  at  once,  for  the  coincidence 
of  Herr  Massow’s  journey  is  most  fortunate,  and  you 
can  thus  hear  my  opinion  before  your  interview  with 
him. 

I am  prepared  to  acknowledge  to  the  utmost  extent 
the  high  honour  conferred  on  me,  and  the  excellence 
of  the  position  offered  to  me.  On  this  very  account, 
however,  I wish  to  obviate  any  difficulties,  and  to  make 
the  matter  as  clear  as  possible.  One  thing  occurs  to 
me  in  the  proposal,  which  you  can  perhaps  remedy  in 
your  conversation  with  Massow.  It  would  not  be  easy 
to  explain  it  by  letter,  and  at  all  events  it  would  lose 
much  time,  and  not  further  the  affair. 

You  may  remember  the  general  overtures  as  to  the 
Academy  and  school  for  music  that  you  brought  me, 
and  you  know  that  I named  the  concerts  as  a positive 
stipulation ; on  the  other  hand,  I said  to  you  that  with- 
out a definite  sphere  of  work  (as  an  appointed  com- 
poser, like  G-rimms,  you  can  say)  I should  hesitate 
much  to  accept  the  proposal.  Either  of  these  situations 
would  suit  me,  but  not  the  two  combined.  I would 


204 


Mendelssohn’s  letters. 


at  once  most  decidedly  refdse  this,  much  as  I should 
regret  being  obliged  to  do  so,  and  however  advantageous 
it  might  seem  to  me  in  other  points.  Your  condition 
No.  2 sets  forth  that  I am  to  be  director  of  the  musical 
classes,  without  any  definite  sphere  of  work,  etc. ; and 
then  No.  4 declares  that  I am  to  give  sundry  concerts 
every  year, — but  that  is  a combination  to  which  I never 
can  consent.  For  instance,  were  I to  undertake  to 
give  concerts  in  Berlin  (and  the  acceptance  of  these 
proposals  would  render  it  my  duty  so  to  do,  even  to- 
wards you),  then  I must  stand  in  a different  relation  to 
the  orchestra  from  what  I could  possibly  do  as  the 
mere  director  of  the  music  classes.  I must  be  quite  as 
much  their  real  chief  there  as  I am  here,  and  as  every 
ordinary  director  must  be,  which  is  only  possible  by 
the  establishment  of  a Musical  Academy  as  a Royal  In- 
stitution, and  by  its  connection  with  the  orchestra  in 
Berlin.  The  number,  too,  of  such  concerts  should  not 
be  very  limited,  as  you  say,  otherwise  they  would  not 
repay  the  trouble  of  such  great  preparations.  In  a 
word,  you  may  easily  perceive  that  I can  only  accept 
proposals  that  either  define  every  point,  or  are  confined 
to  my  personal  and  not  to  my  official  position ; if  the 
two  are  to  be  blended,  I cannot  consent  to  undertake 
them. 

’ Finding  (after  you  left  us)  on  more  mature  delibera- 
tion that  a situation  as  a composer  is  impossible,  and, 
in  fact,  is  nowhere  to  be  met  with,  it  occurred  to  me 
that  the  offer  might  be  renewed  of  a public  sphere  of 
activity,  and  that  I am  quite  prepared  to  accept;  it 
must,  however,  be  within  special  limits,  despotic  as 
regards  the  musicians,  and  consequently  imposing  even 


THE  BERLIN  ACADEMY  OF  ARTS. 


205 


in  outward  position  (not  merely  brilliant  in  a pecuniary 
point  of  view),  otherwise,  according  to  my  ideas,  it 
would  be  fatal  to  my  authority  after  the  very  first 
rehearsal.  I merely  say  all  this,  in  order  to  indicate  to 
you  the  point  of  the  compass  for  which  you  must  steer 
your  course,  in  your  conversation  with  Massow,  and 
that  the  afiair  may  pursue  as  clear  a path  as  possible. — 
Ever  your 

Felix. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  December  20th,  1840. 

Dear  Brother, 

You  wish  to  have  some  tidings  from  me  as  to  our 
affair  (for  well  may  I call  it  so).  The  letter  from 
Massow  came  eight  days  since,  and  I answered  it  on 
Wednesday,  just  as  I would  have  written  or  spoken  to 
yourself,  without  reservation  or  disguise,  but  still  with- 
out that  eager  acceptance  which  was  probably  expected. 
I think  you  would  have  been  satisfied  with  my  letter, 
and  I hope  and  trust  Massow  may  be  so  also.  He 
wrote  far  less  explicitly  about  the  details  of  the  institu- 
tion than  you  did  in  a former  letter ; he  mentions  the 
salary,  the  direction  of  the  classes,  and  the  concerts  to 
be  given  by  royal  command,  but  without  entering  into 
any  further  [particulars.  I replied  that  I was  so  fully 
aware  of  the  advantage  and  honour  of  his  offer,  ihat  I 
feared  he  would  be  surprised  by  my  not  instantly  closing 
with  it.  There  was  but  one  obstacle  in  the  way,  which 
18 


206 


Mendelssohn’s  letters. 


was,  that  I did  not  precisely  know  what  was  expected 
from  me  in  return  for  such  a proposal.  I then  brought 
under  his  notice  the  difficulties  opposed  to  a hond  fide 
direction  of  the  present  classes ; and  as  he  had  men- 
tioned that  these  would  not  now  occupy  much  of  my 
time,  but  that  it  was  expected  I should,  under  the  new 
system,  undertake  additional  work,  I begged,  therefore, 
at  least  to  be  told  what  were  the  liniits  of  this  system, 
and  the  duties  I had  to  perform ; that  I was  indeed 
quite  willing  to  work,  but  did  not  choose  to  pledge 
myself  to  the  performance  of  functions  that  were  not 
precisely  defined.  With  regard  to  the  concerts,  I told 
him  my  opinion  as  to  the  only  mode  of  arranging  them 
now  in  Berlin;  that  little  good  could  accrue  from 
merely  occasional  performances,  even  by  royal  com- 
mand; for  in  that  case  all  sorts  of  counter-influences 
(and  those  I specified  to  him)  would  have  full  scope ; 
that  an  institute  must  be  founded  exclusively  for  similar 
concerts,  and  likewise  days  fixed  for  the  rehearsals  and 
concerts,  and  the  instruction  of  the  performers,  etc. ; 
that  I would  have  nothing  to  do  with  the  orchestra, 
except  on  this  condition,  that  I was  to  be  absolute 
director-in-chief  of  these  concerts,  etc. 

In  short,  I showed  that  I was  well  disposed  to  accept 
the  situation,  but  should  require  the  most  unqualified 
support  throughout,  otherwise  I could  not  efficiently 
perform  the  duties  of  the  office, — it  being  a public  one. 
I hope  you  agree  with  me  on  this  point,  for  though 
money  and  ready  complaisance  are  indeed  of  no  small 
value,  still  neither  are  sufficient,  without  that  entire 
tranquillity  and  security  about  the  future,  which  can 
now  be  given  if  they  are  in  earnest  in  the  matter.  T 


THE  BERLIN  ACADEMY  OF  ARTS. 


207 


can  assure  you  that  there  was  no  undue  particularity 
in  my  words,  but  I am  certain  you  will  not  blame  me 
for  going  on  sure  grounds,  before  giving  up  such  a 
position  as  my  present  one. 

I considered  it  also  my  duty,  before  writing  to 
Massow,  to  communicate  the  circumstance  under  the 
seal  of  the  strictest  secrecy  to  my  friends  here, 
Schleinit^  and  David,  who  are  quite  of  my  opinion, 
that  I ought  to  leave  this,  however  much  they  regret 
it,  if  my  wishes  are  fulfilled  with  regard  to  a defined 
position.  At  the  same  time,  I purpose,  in  the  course 
of  a few  days,  to  make  known  to  our  Concert  Director, 
and  Government  President,  that  I have  received  such 
an  ojffer  (without  naming  the  place),  and  that  it  is 
probable  I may  accept  it.  Perhaps  you  may  not 
approve  of  this,  but  I feel  I cannot  act  otherwise.  If 
my  negotiations  with  Massow  were  to  terminate  by  our 
agreeing,  without  my  having  given  any  hint  of  such  a 
transaction,  it  would  show  a want  of  good  feeling  on 
my  part,  and,  indeed,  in  my  present  circumstances,  a 
want  of  common  gratitude.  But  this  is  in  fact  a mere 
matter  of  form,  for  it  is  not  probable  that  they  will  for 
a moment  think  of  entering  into  competition  with  the 
recent  overtures  from  Berhn,  and  yet  I delay  the 
announcement  from  day  to  day,  because  such  a step 
must  be  final. — Your 


Felix. 


208 


Mendelssohn’s  letters. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  Jan.  2d,  1841. 

Dear  Paul, 

Receive  my  heartfelt  good  wishes,  and  may  Q-od 
grant  us  all  a happy  new  year ! Now  I have  one 
earnest  request  to  make.  Do  not  allow  any  misunder- 
standing between  Massow  and  me  to  inipair  that 
delightful  and  perfect  harmony  between  us  which 
always  rejoices  me  and  makes  me  so  happy.  I will 
not  say,  let  us  not  become  more  mistrustful,  but  not 
even  more  reserved  towards  each  other.  Since  the 
great  sacrifice  that  you  unhesitatingly  made  for  my 
sake  in  coming  here,  I confess  I am  in  great  anxiety  on 
this  subject,  and  it  makes  me  very  uneasy  when  I 
think  it  possible  that  you  may  be  dissatisfied  with  me 
for  not  being  prepared  to  accept  your  opinion  at  once, — 
angry  I do  not  think  you  will  be,  but,  as  I have  already 
said,  do  not  permit  anything  whatever  to  be  changed 
between  you  and  me:  promise  me  this;  you  know 
how  much  I have  at  heart  our  being  able  to  live 
together  at  some  future  day ; but  if  we  were  only  to 
pass  a few  untroubled  years  together,  and  I were  then 
to  go  on  my  way  in  vexation,  that  would  be  worse 
than  it  is  now,  and  I would  gladly  avoid  this.  I tell 
you  so,  because  in  your  letter  you  urge  me  sc 
strongly  fairly  to  speak  out,  as  if  I had  not  in  my 
answer  to  Massow  already  spoken  out  on  many  points, 
more,  perhaps,  than  I ought  to  have  done.  You  also 
wish  to  persuade  me  to  go  now  to  Berlin,  but  you  will 
soon  be  convinced  that,  this  winter,  such  a thing  is 
impossible.  I have  five  subscription  concerts,  and 


THE  MUSICAL  ACADEMY. 


209 


three  extra  concerts  to  direct  in  January,  and  in  the 
beginning  of  March,  Bach’s  “ Passion,”  of  which  not  a 
single  note  is  known  here,  and  I certainly  cannot  get 
away  during  the  time  of  the  concerts  without  injuring 
them.  But,  independent  of  this,  what  should  I do  in 
Berlin?  The  statutes  of  a new  Academy  are  better 
arranged  by  writing  than  verbally,  and,  from  the  tenor 
of  Massow’s  letters,  the  affair  does  not  seem  so  far  ad- 
vanced as  to  permit  of  its  being  definitively  settled  in 
the  course  of  a couple  of  days;  at  least  not  in  the 
sense  that  we  mutually  wish ; so,  as  I said,  dear  Paul, 
promise  me  never,  under  any  circumstances,  to  be  dis- 
pleased with  me. 

I told  Massow  in  a letter  to-day  that  I should  be 
happy  to  explain  my  views  with  regard  to  reorganizing 
the  Musical  Academy,  either  to  him,  or  to  Eichhorn  ; 
for  this  purpose  he  has  only  to  send  me  the  statutes 
hitherto  in  force,  and  the  composition  of  the  classes,  of 
which  I am  entirely  ignorant,  and  also  say  how  far  the 
modifications  are  to  be  carried,  whether  to  the  extent 
of  a radical  change,  or  merely  a reform ; this  I must 
learn,  of  course,  or  I should  not  know  what  to  say ; I 
will  gladly  devote  my  time  and  efforts  to  the  mere 
possibility  of  our  once  more  living  together,  but  I must 
confess  that  since  Massow’s  last  letter  such  a possibility 
seems  even  more  distant  than  I myself  thought.  It 
sounds  all  so  different  from  what  they  commissioned 
you  to  say  to  me  when  you  came  here ; and  if  it  begins 
in  such  a way,  no  doubt  the  sequel  will  be  still  worse. 
The  salary  they  offer  is  certainly  handsome  and  liberal, 
but  if  they  in  return  expect  me  to  accept  an  unlimit- 
ed obligation  to  work,  that  also  would  be  a change 
18* 


210 


MENDELSSOHN^S  LETTERS. 


in  their  proposals,  and  no  compensation  to  me.  The 
salary  is  the  only  point  on  which  Massow  spoke  in 
a decided  manner  to  me,  and  my  position  is  too  for- 
tunate for  mere  money  to  influence  my  views.  All 
that  you  told  me  here  about  a rota  between  the  differ- 
ent directors,  and  the  duties  of  the  Capellmeister  of 
the  Royal  Chapel,  and  of  the  engagement  of  other 
foreign  musicians, — not  a word  of  this  was  brought 
forward;  on  the  contrary,  Massow  writes  to  me  that 
he  is  glad  I have  declared  myself  satisfied  with  the 
title  and  the  salary,  which  is  totally  opposed  to  the 
sense  of  my  previous  letter,  in  which  I expressed  a wish 
to  know  my  duties  before  I could  explain  my  inten- 
tions. Indeed,  even  if  the  alteration  in  the  musical 
class  were  to  be  entered  into,  and  carried  through  ex- 
actly according  to  my  wishes,  I scarcely  know  (as  the 
title  is  in  question)  whether  I should  quite  like  to  go  to 
Berlin  as  “ Director  of  the  Musical  Class,”  which  is  by 
no  means  in  good  odour  with  musicians  at  present.  I can 
say  all  this  to  you  without  incurring  the  suspicion  of  a 
fondness  for  titles,  for  what  annoys  me  is  their  drawing 
back  in  all  their  proposals;  perhaps  I am  mistaken; 
at  all  events,  I hope  in  my  letter  to  Massow  you  will 
find  no  trace  of  the  dissatisfaction  which  I have  frankly 
expressed  to  you.  I shall  assist  in  establishing  the  new 
regulations  as  well  and  as  firmly  as  possible ; in  any 
event,  good  service  will  be  done  to  the  cause,  so  far  as 
I can  accomplish  it,  and  if  the  result  is  to  be  satisfac- 
tory, the  affair  must  first  be  made  clear, — not  merely  in 
reference  to  my  personal  acceptance,  but  because  it  is 
right  and  desirable  for  the  affair  itself,  and  in  order 
to  enable  any  good  musician  (not  merely  myself)  to 


PIETISTIC  MUSIC. 


211 


interest  themselves  in  it  hereafter ; for  now  the  ques- 
tion again  recurs,  whether  I or  some  other  efi&cient 
musician  shall  be  placed  at  the  head,  and  all  the  other 
questions  become  mere  secondary  considerations. 

Por  Heaven’s  sake,  tell  me,  how  came  you  to  be 
reading  that  abominable  thing  of  Diderot’s  ? He  was 
ashamed  of  it  later  in  life,  but  the  traces  of  his  genius 
are  to  be  discovered  even  in  this  muddy  pool.  I may 
possibly  feel  more  mildly  disposed  towards  him  just 
now,  because  two  pietistic  works  were  sent  to  me 
yesterday  from  Berhn,  so  gloomy,  such  a perfect  type 
of  the  worst  time  of  the  priesthood,  that  I am  almost 
inchned  to  welcome  the  French  with  their  audacity 
and  Yoltaire  with  his  broom.  Perhaps  you  know  one 
of  these  ? It  is  called  “ Die  Passion,  ein  kirchliches 
Festspiel;”  it  is  written  in  doggerel  rhymes,  and  is  the 
most  wretched  trash  I have  lately  read, — Heine  in- 
cluded. The  other  is  a criticism  written  by  a person 
on  his  own  oratorio,  in  which  he  exhorts  the  people 
to  piety  and  frequent  communion,  and  says  no  one  is 
entitled  to  pronounce  any  opinion  on  his  music  who 
does  not  listen  to  it  in  the  spirit  of  true  piety  and  in 
faith.  Alas  I alas ! 

Eemember  my  first  request  in  this  new  year,  and 
love  me  as  much  as  ever. — Your 


Felix. 


212 


Mendelssohn’s  letters. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  Jan.  9th,  1841. 

Dear  Paul, 

Your  letter  of  yesterday  made  me  very  happy  ; God 
knows  why  I could  not  get  it  out  of  my  head  that 
you  were  angry  with  me  for  delaying  an  affair  which 
you  wished  to  expedite,  and  have  so  kindly  expedited. 
I however  see  from  your  letter  that  I was  entirely  and 
totally  wrong,  and  I thank  you  much  for  it,  and  sub- 
scribe to  all  you  say  on  the  subject.  But  there  is  one 
idea  you  must  dismiss  from  your  thoughts  as  much  as 
I have  done  the  other,  and  that  is  the  dread  of  foreign 
influences,  as  you  call  them,  which  you  allude  to  in 
your  letter.  You  must  not  suppose  that  I ever  act  in 
any  affair  but  from  my  own  conscientious  impulses,  far 
less  in  a matter  in  which  I myself  and  my  happiness 
are  so  very  closely  involved.  Believe  me  that,  in  gene- 
ral, I invariably  strive  to  do  and  say  nothing  but  what 
I hold  to  be  right  in  my  conscience  and  instinct,  and  it 
is  a proof  that  we  have,  alas  I hved  much  asunder,  and 
only  met  in  days  of  enjoyment,  and  not  of  work,  when 
you  fear  that  I am  easily  swayed,  not  only  in  conversa- 
tion, but  in  action.  hTo  I all  goes  on  very  slowly  with 
me,  but  when  at  last  I do  a foolish  thing  I have  at  least 
owe  merit,  which  is,  to  have  devised  it  entirely  myself. 
With  regard  to  this  special  case,  I probably  gave  you 
cause  for  suspicion,  by  writing  to  you  that  I told  my 
friends  here,  David  and  Schleinitz,  of  the  offer,  and  in 
my  last  letter  I did  not  allude  to  them  again.  I can 
assure  you,  however,  that  both  have  long  ago  given  me 
such  proofe  of  sincere  friendship,  that  I could  not  possi- 


THE  MUSICAL  ACADEMY. 


213 


bly  have  been  silent  to  them  on  this  occasion,  and  both 
urged  my  acceptance,  and  saw  the  thing  in  the  most 
favourable  light. 

That  not  the  smallest  step  I have  taken  in  the  whole 
affair  may  be  unknown  to  you,  I must  add  that  I felt 
myself  obliged  to  communicate  the  circumstance  can- 
didly, some  days  ago,  to  the  Ejreis-Director,  Herr  von 
Falkenstein ; for  in  this  month  the  money  becomes  due 
which  the  King  has  the  disposal  of,  and  which,  as  you 
are  aware,  I last  winter  petitioned  might  be  appro- 
priated to  found  a school  of  music  here.  The  King, 
who  expressed  himself  in  a very  kind  manner  towards 
me  when  he  came  to  one  of  our  subscription  concerts, 
seemed  well  disposed  to  give  his  consent ; then  came 
Falkenstein  to  ask  me  if  I would  pledge  myself  (which 
really  was  my  idea  at  that  time)  to  organize  this  music 
school  for  some  years  to  come.  I now  no  longer  could 
or  would  do  this : so  I thought  it  best  to  tell  him  the 
whole  affair.  He  gave  me  his  faithful  promise  to  pre- 
serve the  strictest  silence,  and  I in  turn  agreed  to  give 
him  due  notice  if  I settled  to  go  to  Berhn,  because 
that,  he  said,  might  be  prejudicial  to  the  plan  of  the 
music  school ; and  thus  it  now  stands. 

I await  the  arrival  of  the  statutes ; at  all  events,  an 
opportunity  may  then  occur  to  render  an  occasional 
service  to  the  cause  there,  and  to  place  many  things  on 
a better  footing,  and  perhaps  to  introduce  a better  sys- 
tem into  the  whole  class,  and  some  good  would  be  thus 
effected. 

The  examples  of  which  you  speak  in  regard  to 
public  opinion  interested  me  very  much,  but,  I own^ 
were  far  from  pleasing  to  me.  I do  not  call  that  public 


214 


Mendelssohn’s  letters. 


opinion  which  is  shown  by  sending  anonymous  and 
libellous  verses,  and  by  hissing  an  old  masterpiece.* 
You  wiU  perhaps  say  this  is  only  the  beginning;  but 
that  is  the  very  point : if  a thing  is  not  rightly  begun 
it  never  comes  to  a good  end,  and  I do  not  believe  that 
public  tracasseries  can  pave  the  way  to  public  opinion ; 
indeed,  I believe  that  such  things  have  always  existed, 
and  always  will  exist,  independent  of  the  vox  populi, 
which  is  the  vox  Dei.  It  would  be  more  important  to 
me  if  you  would  tell  me  some  particulars  of  the  curiosa 
which  are  related  of  Minister  Schon ; pray  do  this,  if 
you  possibly  can.  He  seems  to  be  a determined  fel- 
low I - -Y  our 

Felix. 


To  Herr  X . 


Leipzig,  January  22d,  1841. 

Sir, 

I beg  to  offer  you  my  thanks  for  the  confidence 
you  have  shown  me  by  your  polite  letter,  and  the  ac- 
companying music.  I have  looked  over  your  overture 
with  much  pleasure,  and  discovered  many  unmistaka- 
ble traces  of  talent  in  it,  so  that  I should  rejoice  to 
have  an  opportunity  of  seeing  some  more  new  works  of 
yours,  and  thus  to  make  your  musical  acquaintance  in  a 
more  intimate  and  confidential  manner.  The  greater 
part  of  the  instrumentation,  and  especially  the  melo- 
dious passage  which  is  in  fact  the  principal  subject, 

* The  performauco  of  “ Athalie,”  with  Schultz’s  music,  had  caused 
considerable  excitement  in  the  Berlin  Theatre, 


FRIENDLY  CRITICISMS. 


215 


pleased  me  much.  If  I were  to  find  any  fault,  it  would 
be  one  with  which  I have  often  reproached  myself  in 
my  own  works  ,*  in  the  very  overtures  you  allude  to, 
sometimes  in  a greater  and  sometimes  in  a lesser  degree. 
It  is  often  very  difficult,  in  such  fantastical  airy  subjects, 
to  hit  the  right  medium.  If  you  grasp  it  too  firmly,  it 
is  apt  to  become  formal  and  prosaic ; and  if  too  deh- 
cately,  it  dissolves  into  air  and  melody,  and  does  not 
become  a defined  form.  This  last  rock  you  seem  to 
have  split  upon ; in  many  passages,  especially  at  the 
very  beginning,  but  also  here  and  there  in  other  parts, 
and  towards  the  close  again,  I feel  the  want  of  a musi- 
cal well-defined  form,  the  outlines  of  which  I can  recog- 
nize, however  -misty,  and  grasp  and  enjoy.  I should 
like,  besides  the  meno  allegro^  to  see  some  other  more 
definite  idea,  and  to  have  it  worked  out;  only  then, 
the  other  rock  is  too  apt  to  show  itself,  and  modulations 
be  seen,  where  there  should  be  nothing  but  moonlight. 
In  order,  however,  to  give  free  course  to  these  poetical 
thoughts,  the  spirit  of  entire  supremacy  must  hover 
over  the  whole  (that  fiict  should  not  become  too  dry, 
nor  fancy  too  misty) ; and  it  is  only  where  this  com- 
plete mastery  over  thought  and  arrangement  exists, 
that  the  reins  may  be  given  to  imagination.  This  is 
the  very  point  which  we  are  all  obliged,  more  or  less, 
to  study ; I hope  you  wiU  not  be  offended,  therefore, 
that  I do  not  find  this  problem  entirely  solved  in  your 
work  either ; in  your  future  productions,  with  which  I 
hope  to  become  acquainted,  the  connection  will,  no 
doubt,  be  closer,  and  my  critical  remarks  rendered 
unnecessary. — I am,  with  sincere  esteem,  yours, 

Felix  Mendelssohn  Bartuoldy 


216 


Mendelssohn’s  letters. 


To  HIS  Mother. 

Leipzig,  January  25th,  1841. 

. . . This  is  the  thirty-fifth  letter  I have  written 
since  the  day  before  yesterday  ; it  makes  me  quite  un- 
easy to  see  how  the  flood  swells,  if  a few  days  elapse 
without  my  stemming  it  and  guarding  against  it.  Va- 
riations from  Lausitz  and  Mayence ; overtures  from 
Hanover,  Copenhagen,  Brunswick,  and  Rudolstadt; 
German  Fatherland  songs  from  Weimar,  Brunswick, 
and  Berlin,  the  latter  of  which  I am  to  set  to  music, 
and  the  former  to  look  over  and  take  to  a publisher : 
and  all  these  accompanied  by  such  amiable,  polite 
letters,  that  I should  be  ashamed  if  I were  not  to  reply 
to  them  in  as  amiable  and  kind  a manner  as  I possibly 
can.  But  who  can  give  me  back  the  precious  days 
which  pass  away  in  these  things  ? Add  to  this,  persons 
who  wish  to  be  examined,  eagerly  awaiting  my  report 
for  their  anxious  relatives,  whether  they  are  to  become 
professional  musicians  or  not ; two  Rhenish  youths  are 
here  at  this  moment  for  that  purpose,  and  the  verdict  is 
to  be  given  in  the  course  of  a few  hours.  It  is  really  a 
heavy  responsibility,  and  I often  think  of  La  Fontaine’s 
rat,  who  retired  into  a cheese  and  thence  delivered 
oracles. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  February  13th,  1841. 

My  dear  Brother, 

It  is  curious  how  certain  years  elapse,  when  both 
time  and  people  seem  to  stand  quietly  still ; and  then 


THE  BERLIN  -ACADEMY  OF  ARTS. 


217 


again  come  weeks,  when  everything  seems  to  run  about 
like  biUiard-balls,  making  carroms,  and  losing  and  win- 
ning hazards,  etc.  etc.  {vide  the  Temperance  Hotel  in 
Gohlis).  Such  has  been  the  case  with  me  during  the 
last  few  months.  Since  you  were  here,  everything  is 
so  far  advanced  and  altered,  that  it  would  take  me  a 
week  at  least,  and  walks  innumerable,  without  letting 
you  utter  a word,  before  I could  tell  you  all  j and  pro- 
bably it  has  been  the  same  with  you. 

The  Berhn  affair  is  much  in  my  thoughts,  and  is  a 
subject  for  serious  consideration.  I doubt  whether  it 
will  ever  lead  to  that  result  which  we  both  (I  believe) 
would  prefer ; for  I still  have  misgivings  as  to  Berlin 
being  a soil  where  a person  of  my  profession  could  feel 
even  tolerably  at  home,  in  spite  of  all  honours  and 
money ; but  the  mere  offer  in  itself  gives  me  an  inward 
impulse,  a certain  satisfaction,  which  is  of  infinite  value 
to  me,  even  if  I were  never  to  speak  of  it  to  any  one ; 
in  a word,  I feel  that  an  honour  has  been  done  me,  and 
I rejoice  in  it.  Massow  writes  in  his  last  letter,  which 
I received  before  yours,  that  the  King  wishes  to  delay 
the  definitive  arrangement  of  the  Academy  till  I go  to 
Berlin  in  spring ; whether  I choose  to  make  proposals 
in  writing  as  to  the  alteration  of  the  statutes  which  he 
sends  me,  he  leaves  entirely  to  my  own  decision.  As 
this  point  is  left  to  myself,  and  I would  far  rather  not 
write  at  all  on  the  subject,  I shall  delay  doing  so  till  I 
know  to  a certainty  whether  I go  to  Berlin  in  spring 
or  not,  and  only  in  the  latter  case  write.  Remarkable, 
very  remarkable,  these  statutes  are,  especially  those  of 
the  school  for  composition.  Imagine ! out  of  eleven 
different  branches  of  instruction  which  they  have  insti- 

la 


218 


MENDELSSOHN  S LETTERS. 


tuted,  seven  are  positively  useless,  and  indeed  prepos- 
terous. What  do  you  think  of  the  following,  among 
others  ? No.  8.  “ The  relation  Music  bears  to  the 

other  arts,  especially  to  the  plastic  and  to  the  stage;” 
and  also  No.  11,  A guide  to  the  spiritual  and  worldly 
Drama.”  I formerly  read  these  things  in  the  Govern- 
ment paper,  and  laughed  at  them ; but  when  a grave 
minister  or  ofiQ-cial  actually  sends  such  stuff,  it  is  pitiable. 
Pray  do  go  to  some  public  place  where  newspapers  are 
collected,  and  send  me  the  one  which  advertises  this 
course,  and  where  the  teachers  of  the  different  branches 
are  named.  I require  these  data  thoroughly  to  under- 
stand the  affair.  It  is  all  in  the  worst  possible  state. 
You  will  say  this  is  the  very  reason  why  I should  try 
to  extricate  it.  In  that  case  there  would  indeed  be 
plenty  to  do,  if  I could  only  think  myself  the  man  to  do 
it : to  improve  what  is  already  good,  or  to  create  what 
is  new  and  good,  would  be  an  undertaking  that  I 
should  rejoice  in,  and  which  might  be  learned,  even  if 
there  were  no  previous  knowledge  of  the  subject ; but 
to  change  what  is  positively  bad  into  better  things,  is 
both  a hard  and  a thankless  task. 

A very  momentous  change  has  taken  place  here  since 
what  is  called  the  King’s  concert.  You  cannot  think 
what  a good  impulse  the  mere  visit  of  the  King,  and 
his  really  cordial  and  kind  approbation,  has  imparted 
to  our  concerts  here.  A person  is  almost  to  be  envied 
who,  by  pure,  kindly,  natural  feelings,  and  words  of 
the  same  tenor,  can  give  such  an  immediate  impetus, 
were  it  not  after  all  quite  as  difficult,  in  such  a position, 
to  preserve  such  feelings  (which  is  the  main  point)  as 
it  is  with  us  to  maintain  many  less  essential.  By  his 


RIGHT  USE  OF  TALENTS. 


219 


demeanc  ir  here,  as  well  as  by  the  way  in  which  he  has 
sounded  forth  our  praises  in  Dresden,  he  has  facilitated 
a number  of  things  for  us  which  were  not  thought  of 
formerly.  Since  that  time,  we  have  strangers  from 
Dresden  at  every  concert,  and  the  female  singers  there 
vie  with  each  other  in  their  efforts  to  appear  in  public 
here.  The  grant,  too,  of  the  legacy  bequeathed  two 
years  ago,  will  now  probably  be  entirely  devoted  to 
musical  purposes,  and  perhaps  be  finally  decided  this 
month.  All  these  are  only  mere  outlines;  but  how 
many  details  I might  have  added  during  the  walks  I 
alluded  to  I There  has  been  one  thing,  however,  and 
that  indeed  the  chief  thing,  which  I have  not  been  able 
to  accomplish  during  all  these  winter  months,  and  that 
is  composition.  I sent  my  Hymn  of  Praise  ” to  be 
published,  and  have  written  a couple  of  songs ; this  is, 
however,  all,'  and  little  enough  too. 

jSTow,  as  to  literature,  I am  but  in  a poor  state  in 
that  respect.  Last  week  I had  scarcely  time  to  eat  or 
to  sleep  mj  jpensum^  without  being  fairly  stranded,  and 
no  possibility  of  reading.  I read  Immermann’s  “ Munch- 
hausen  ” some  time  ago,  but  only  the  first  volume ; and 
I must  confess  that  the  first  half  of  it,  which  you  too 
do  not  praise,  displeased  me  so  much,  that  I was  out 
of  sorts  with,  the  second  also,  although  I do  not  deny 
the  great  beauties  in  the  second  Westphalian  portion, 
and  in  all  those  works  of  his  which  I have  seen.  I feel 

the  same  with  regard  to  X ’s  critical  article.  When 

I see  an  old  companion,  endowed  by  a kind  Providence 
with  every  good  capability,  roaming  about  for  many 
long  years,  employing  his  really  fine  talents  in  writing 
for  newspapers,  and  criticizing  'a  book  which  perhaps 


220 


Mendelssohn’s  letters. 


had  better  never  have  been  written  (but  for  the  money 
the  bookseller  gave  for  it),  and  with  these  exceptions 
bringing  nothing  of  his  own  into  the  world,  advancing 
nothing  and  contributing  nothing,  I cannot  help  think- 
ing that  it  is  the  greatest  blasphemy  which  can  be 
committed  against  Providence,  and  so  I don’t  wish  to 
know  anything  of  his  clever  criticisms,  and  feel  a much 
higher  esteem  for  every  honest  bookbinder  and  cobbler. 
This  is,  no  doubt,  one-sided,  and  too  severe  also ; but 
•I  know  nothing  worse  than  the  abuse  or  non-use  of 
G-od’s  gifts,  and  have  no  sympathy  for  those  who  trifle 
with  them. 

Fie,  for  shame ! what  a cynical  tone  I have  adopted  I 
and  I have  not  yet  thanked  you  for  all  the  good  and 
loving  and  kind  things  you  say  to  me  of  my  music ! 
But  you  must  not  estimate  it  so  highly  in  contradis- 
tinction to  that  of  others.  To  deserve  all  your  praise, 
it  ought  to  be  very  much  better;  and  this  I hope  it 
will  one  day  become.  At  all  events,  I think  that  the 
recitative,  and  the  middle  of  my  “ Hymn  of  Praise,” 
are  more  fervent  and  spirited  than  anything  I have  yet 
written.  When  shall  we  be  able  to  sing  it  to  you  ? 

With  this  I close  my  letter.  Write  to  me  soon  again. 
•—Your  Felix. 


To  Fanny  Hensel,  Berlin. 

Leipzig,  February  14th,  1841. 

Salut  et  Frafcernite ! 

Have  you  read  the  wrathful  letter  which  the  Em- 
peror of  China  wrote  to  Lin,  with  a bright  red  pencil  ? 


MADAME  DEVRIENT. 


221 


Were  this  the  fashion  with  us,  I would  write  to  you 
to-day  with  a grass-green  pencil,  or  with  a sky-blue 
one,  or  with  whatever  colour  a pleasant  pencil  ought  to 
assume,  in  gratitude  for  your  admirable  epistle  on  my 
birthday.  My  especial  thanks  also  for  the  kind  and 
friendly  interest  you  have  shown  in  the  faithful  Eckert ; 
he  is  a sound,  practical  musician,  and  further  than  this, 
in  my  opinion  (to  which  I sometimes  adhere  for  twenty- 
four  hours),  no  man  should  concern  himself  about  an- 
other. Whether  a person  be  anything  extraordinary, 
unique,  etc.,  is  entirely  a private  matter.  But  in  this 
world,  every  one  ought  to  be  honest  and  useful,  and  he 
who  is  not  so  must  and  ought  to  be  abused,  from  the 
Lord  Chamberlain  to  the  cobbler.  Of  all  the  young 
people  whom  I have  had  anything  to  do  w^ith  here,  he 
is  the  most  good-natured,  and  by  far  the  most  inoffen- 
sive ; and  these  are  two  precious  qualities. 

Don’t,  I beg,  write  me  anything  more  about  your 
Sunday  music;  it  is  really  a sin  and  a shame  that  I 
have  not  heard  it;  but,  though  I feel  so  provoked  at 
this,  it  is  equally  vexatious  that  you  have  heard  none 
of  our  truly  brilliant  subscription  concerts.  I tell  you 
we  ghtter  brightly — in  Bengal  fire.  The  other  day,  in 
our  last  historical  concert  (Beethoven),  Herr  Schmidt 
was  suddenly  taken  ill,  and  could  not  sing  to  his  Feme 
Geliebte  ” in  the  Liederkreis.”  In  the  middle  of  the 
first  part  David  said,  I see  Madame  Devrient.”  She 
had  arrived  that  morning  by  rail,  and  was  to  return 
next  day.  So  during  an  interval  I went  up  to  her,  was 
vastly  polite,  and  she  agreed  to  sing  Adelaide ; ” on 
which  an  old  piano  was  carried  into  the  orchestra  from 
the  anteroom.  This  was  greeted  with  much  applause, 
19* 


222 


Mendelssohn’s  letters. 


for  people  suspected  that  Devrient  was  coming.  So 
come  she  did,  in  a shabby  travelling  costume,  and  Leip- 
zig bellowed  and  shouted  without  end.  She  took  off 
he’’  bonnet  before  the  puhlicum^  and  pointed  to  her 
black  pelisse,  as  if  to  apologize  for  it.  I believe  they 
are  still  applauding!  She  sang  beautifully,  and  there 
was  a grand  flourish  of  trumpets  in  her  honour,  and  the 
audience  clapped  their  hands,  till  not  a single  bow  of 
the  shabby  pelisse  was  any  longer  visible.  The  next 
time  we  are  to  have  a medley  of  Molique,  Kalliwoda, 
and  Lipinsky, — and  thus,  according  to  Franck’s  witti- 
cism, we  descend  from  Adam  to  Holtei. 

As  to  the  tempi  in  my  Psalm,  all  I have  to  say  is, 
that  the  passage  of  the  Jordan  must  be  kept  very 
watery ; it  would  have  a good  effect  if  the  chorus  were 
to  reel  to  and  fro,  that  people  might  think  they  saw 
the  waves ; here  we  have  achieved  this  effect.  If  you 

do  not  know  how  to  take  the  other  temp\  ask  Gr 

about  them.  He  understands  that  capitally  in  my 
Psalms.  With  submission,  allow  me  to  suggest  that 
the  last  movement  be  taken  very  slow  indeed,  as  it  is 
called  Sing  to  the  Lord  for  ever  and  ever,”  and  ought 
therefore  to  last  for  a very  long  time  I Forgive  this 
dreadful  joke.  Adieu,  dear  Fanny. — Your 

Felix. 


To  Pastor  Julius  Sohubring,  Dessau. 

Leipzig,  February  27th,  1841. 

Dear  Schubring, 

Thank  you  a thousand  times  for  your  friendly  letter, 
which  caused  me  much  pleasure,  and  was  a most 


THE  “RHEINLIED. 


223 


welcome  birthday  gift.  Our  correspondence  had  cer- 
tainly become  rather  threadbare,  but  pray  don’t  give 
up  sending  me  your  little  notes  of  introduction ; large 
letters  would  indeed  be  better,  but  in  default  of  these  I 
must  be  contented  with  little  ones,  and  you  well  know 
that  they  will  always  be  received  with  joy,  and  those 
who  bring  them  welcomed  to  the  best  of  my  ability. 

Now  for  my  critical  spectacles,  and  a reply  about 
your  Becker  E-heinlied.”  I hke  it  very  much;  it  is 
well  written,  and  sounds  joyous  and  exhilarating,  but 
(for  a hut  must  of  course  be  uttered  by  every  critic) 
the  whole  poem  is  quite  unsuitable  for  composition,  and 
essentially  unmusical.  I am  well  aware  that  in  saying 
this  I rashly  throw  down  the  gauntlet  both  to  you,  and 
many  of  my  colleagues  in  G-ermany ; but  such  is  my 
opinion,  and  the  worst  part  of  it  is,  that  I am  confirmed 
in  it  by  most  of  the  compositions  that  I know.  (For 
Heaven’s  sake,  let  this  remain  a secret  between  us, 
other  wise, as  journalists  publish  every  trifle  nowadays, 
I may  possibly  be  some  day  conveyed  across  the  fron- 
tiers as  a Frenchman.)  But,  jesting  apart,  I can  only 
imagine  music  when  I can  realize  the  mood  from  which 
it  emanates ; mere  Artistically  correct  tones  to  suit  the 
rhythm  of  the  poetry,  becoming  forte  when  the  words 
are  vehement,  and  piano  when  they  are  meek,  sounding 
very  pretty,  but  expressing  nothing, — I never  yet  could 
comprehend;  and  still  such  is  the  only  music  I can 
discover  for  this  poem.  Neither  forcible,  nor  effective, 
nor  poetical,  but  only  supplementary,  collateral,  musical 
music.  The  latter,  however,  I do  not  choose  to  write. 
In  such  cases,  the  fable  of  the  two  vases  often  recurs 
to  me,  who  set  off  together  on  a voyage,  but  in  rolling 


224 


Mendelssohn’s  letters. 


to  and  fro  one  smashed  Ins  companion,  the  one  being 
made  of  clay  and  the  other  of  iron.  Besides,  I consider 
the  poem  to  be  neither  bold  nor  cautious,  neither 
enthusiastic  nor  stoical,  but  only  very  positive,  very 
practical,  very  suitable  indeed  for  many  at  the  present 
day;  however,  I cannot  even  momentarily  interest 
myself  in  any  object  of  which  I can  perceive  the 
momentary  nature,  and  from  which  I can  expect  no 
durability.  I am  becoming  philosophical ; pray  forgive 
me,  and  forgive  the  whole  diatribe,  which  is  uncivil 
besides,  because  you  composed  the  song  yourself. 
But,  as  you  have  an  immense  majority  of  musicians  on 
your  side,  you  will  not,  I think,  be  offended  by  my 
dissentient  protestation,  but  probably  rather  disposed 
to  laugh  at  it.  I could  not  help  coming  out  with  what 
I thought. 

You  wish  to  know  how  I am.  As  well  as  possible. 
Yet  if  we  see  each  other  in  the  course  of  a few  weeks, 
you  may  perhaps  hear  the  same  complaints  from  me 
that  you  did  last  year.  I often  thought  of  them  since, 
and  laughed  at  them,  because  I was  so  well  and  so  gay ; 
but  for  a week  past  such  languor  seems  to  creep  over 
me,  that,  as  I told  you,  I might  sing  the  very  same  old 
song  of  a year  ago.  I don’t  know  whether  this  arises 
from  the  approach  of  spring,  or  the  enormous  quantity 
of  music  which  I w'as  engaged  in  during  the  winter, 
and  which  has  fairly  exhausted  me ; for  several  years 
past  the  two  always  come  together.  But  I believe  it  is 
the  latter ; I have  conducted  fifteen  public  performance 
since  January, — enough  to  knock  up  any  man.  Fare- 
well, my  dear  friend. — ^Your 

Felix  Mendelssohn  Bartuoldy. 


A PAMPHLET  BY  JACOBI. 


225 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  March  3d,  1841 

Dear  Paul, 

You  gave  me  extreme  pleasure  by  the  brochure^  you 
sent  me  yesterday,  and,  after  having  exulted  not  a 
little  in  its  contents,  I must  now  thank  you  much  for 
having  forwarded  it  to  me..  I read  of  it  in  the  “ Allge- 
meine  Zeitung,”  but  had  it  not  been  for  your  kindness, 
this  clever  publication  would  not  have  found  its  way 
to  my  room  for  many  a day.  I have  read  it  through 
twice  with  the  deepest  attention,  and  agree  with  you 
that  it  is  a most  remarkable  sign  of  the  present  time  in 
Prussia,  that  nothing  more  true,  more  candid,  or  more 
sober  in  form  and  style  could  be  desired,  and  that  a 
year  ago  a similar  pamphlet  could  not  have  appeared. 
In  the  mean  while,  it  is  prohibited,  and  we  shall  soon 
see  in  how  far  it  is  merely  an  individual  lofty  spirit 
expressing  his  views,  or  a spirit  that  has  really  im- 
pressed and  fired  the  whole  community,  for  the  great 
misfortune  with  us  has  always  been  want  of  unanimity, 
of  esprit  de  corps.  A sorrowful  feeling  oppresses  me 
when  I so  surely  see,  or  think  I see,  that  the  path  lies 
open,  level,  and  plain,  on  which  the  whole  of  G-ermany 
might  receive  a development  which  it  probably  never 
had,  except  in  years  of  war,  and  not  even  then,  because 
these  years  of  war  were  years  of  violence  also, — a path 
on  which  no  one  would  lose,  and  all  would  gain  in  life, 
power,  movement,  and  activity ; this  path  is  likewise 

* The  “ Yier  Fragcn  ” of  Jacobi,  a pamphlet  of  the  day,  the  purport 
and  contents  of  which  would  certainly  no  longer  cause  the  smallest 
annoyance  to  either  party. 


226 


MENDELSSOHN  S LETTERS. 


that  of  truth,  and  honour,  and  fidelity  to  promises,  and 
yet  time  after  time  it  is  never  trodden,  while  new  rea- 
sons are  perpetually  found  for  avoiding  it.  This  is 
most  melancholy  I In  the  mean  time,  it  is  fortunate 
that  there  are  people  who  know  how  to  set  forth  what 
by  far  the  greater  number  feel  but  cannot  express.  I 
should  have  to  quote  the  whole  of  the  pamphlet,  to 
name  all  the  particular  passages  written  so  entirely  in 
consonance  with  the  feelings  of  my  heart;  but  I 
started  up  from  joy  at  both  the  little  paragraphs  on  the 
Dantzic  letter  and  Hanover,  for  they  came  in  so  natu- 
rally, and  quite  as  a matter  of  course ; and  then  the 
glorious  close ! As  I said  before,  the  next  fortnight 
will  prove  whether  such  a spirit  has  the  right  on  his 
side  in  these  days,  not  merely  in  theory  but  in  practice. 
Grod  grant  it  may  be  so  ! 

If  you  hear  anything  further  of  your  statesman*  (I 
do  not  believe  the  brochure  is  his,  though  quite  in  ac- 
cordance with  his  creed),  or  any  more  details  that  can 
be  communicated  to  me,  I beg  you  will  not  fail  to  do 
so.  I begin  to  interest  myself  very  much  in  this  man. 
What  a glorious  contrast  this  work  forms  to  all  the 
French  ones  of  last  year  that  I have  seen  I Here  is 
indeed  real  substance,  not  merely  subtleties ; vigorous 
truth  and  inborn  dignity,  not  merely  well-bred  polite- 
ness or  evasion  of  the  laws. 

But  the  work  is  prohibited  I This  is  a humiliation, 
even  amid  all  my  delight.  Farewell ; thank  you  again 
cordially  for  your  kindness  always. — Your 

Felix. 


* At  the  time  of  the  appearance  of  the  “ Vier  Fragen,”  Minister  Schiio 
was  unquestionably  supposed  by  the  public  to  be  the  author. 


CONCERT  AT  LEIPZIG. 


227 


To  Julius  Eietz,  Music  Director  at  Dusseldorf, 
{Now  Gajpellmeisier  at  Dresden.) 

Leipzig,  April  23d,  1841. 

Dear  Eietz, 

Yesterday  evening  we  performed  your  overture  to 
‘‘  Hero  and  Leander  ” and  the  Battle  Song,”  amid 
loud  and  universal  applause,  and  with  the  unanimous 
approbation  of  the  musicians  and  the  public.  Even 
during  the  rehearsal  of  the  overture,  towards  the  end 
in  D major,  I perceived  in  the  orchestra  those  smihng 
faces  and  nodding  heads  which  at  a new  piece  of  yours 
I am  so  glad  to  see  among  the  players ; it  pleased  them 
all  uncommonly,  and  the  audience,  who  ^yesterday  sat 
as  still  as  mice  and  never  uttered  a sound,  broke  out  at 
the  close  into  very  warm  applause^  and  fully  confirmed 
the  judgment  of  the  others.  I have  had  great  delight 
in  all  these  rehearsals,  and  in  the  performance  also; 
there  is  something  so  genuinely  artistic  and  so  genu- 
inely musical  in  your  orchestral  works,  that  I feel 
happy  at  the  first  bar,  and  they  captivate  and  interest 
me  till  the  very  end.  But,  as  you  persist  in  wishing 
me  to  place  my  critical  spectacles  on  my  nose,  I must 
teH^you  that  there  was  one  wish  I formed  in  hearing 
both  pieces : that  you  may  now  write  many  works  in 
succession.  The  chief  reason  for  this  I do  not  require 
to  tell  you,  for  it  lies  on  the  surface.  But  I have  yet 
another  wish : I perceive  a certain  spirit,  especially  in 
the  overture,  which  I myself  know  only  too  well,  for  in 
my  opinion  it  caused  my  Eeformation  Symphony 


An  unpublished  composition  of  Mendelssohn’s. 


228 


MENDELSSOHN  S LETTERS. 


to  fail,  but  which  can  be  surely  and  infallibly  banished 
by  assiduous  work  of  different  kinds.  Just  as  the 
French,  by  conjuring  tricks  and  overwrought  sentiment, 
endeavour  to  make  their  style  harrowing  and  exciting, 
so  I believe  it  possible,  through  a natural  repugnance 
to  this  style,  to  fall  into  the  other  extreme,  and  so 
greatly  to  dread  all  that  is  piquant  or  sensuous,  that  at 
last  the  musical  idea  does  not  remain  sufficiently  bold 
or  interesting  j that  instead  of  a tumour  there  is  a wast- 
ing away : it  is  the  contrast  between  the  Jesuit 
churches,  and  their  thousand  glittering  objects,  and  the 
Calvinists,  with  their  four  white  walls ; true  piety  may 
exist  in  both,  but  still  the  right  path  lies  between  the 
two.  I entreat  you  to  pardon  this  preaching  tone  ; but 
how  is  it  possible  to  make  oneself  understood  on  such 
subjects  ? The  fundamental  thoughts  in  your  overture 
and  my  “ Eeformation  Symphony  ” (both  having,  in  my 
opinion,  similar  qualities)  are  more  interesting  from 
what  they  indicate,  than  actually  interesting  in  them- 
selves ; of  course  I do  not  plead  for  the  latter  quality 
alone  (as  that  would  lead  us  to  the  French),  nor  for  the 
first  alone  either ; both  must  be  united  and  blended. 
The  most  important  point  is  to  make  a thema,  or  any- 
thing of  the  kind  which  is  in  itself  musical,  really  inte- 
resting : this  you  well  understand  in  your  instrumenta- 
tion, with  every  second  oboe  or  trumpet,  and  I should 
like  to  see  you  steer  boldly  in  that  direction  in  your 
next  works, — without,  however,  injuring  by  the  greater 
finish  and  sharpness  of  your  musical  thoughts,  your 
excellent  foundation,  or  your  masterly  and  adinirably 
carried-out  details  of  instrumentation,  etc.  As  ideas 
cannot  be  either  more  highly  finished  or  sharpened,  but 


REPORT  TO  THE  KING  OF  PRUSSIA. 


229 


must  be  taken  and  made  use  of  as  they  come,  and  as  a 
kind  Providence  sends  them,  so  work  is  the  only  thing 
which  either  I or  others  can  possibly  desire  for  such  an 
artist  as  yourself j and  for  works  of  art  like  yours,  where 
the  only  question  is  of  any  trifling  deviation  m their 
tendency. 


Report  to  Ms  Majesty  the  King  of  Prussia,^  from  the  Wirk- 
lich  Geheimrath  Herr  von  Massow. 

Berlin,  May  20th,  1841. 

Your  Majesty  was  pleased  verbally  to  desire  me  to 
enter  into  communication  with  Herr  Felix  Mendelssohn 
Bartholdy,  in  Leipzig,  with  a view  to  summon  him  to 
Berlin,  and  to  fix  his  residence  there  by  appointment. 
I therefore  on  the  11th  of  December  last  wrote  to  Herr 
Mendelssohn,  in  accordance  with  your  Majesty’s  com- 
mands, and  made  the  following  offer  : — 

That  he  should  be  appointed  Director  of  the  musical 
class  of  the  Academy  of  Arts,  with  a salary  of  three 
thousand  thalers. 

I also  mentioned  that  it  was  your  Majesty’s  intention 
to  reorganize  the  musical  class  of  the  Academy,  and  to 
connect  it  with  some  existing  establishments  for  the 
development  of  musical  cultivation,  as  well  as  with 
others  yet  to  be  formed;  that  Herr  Mendelssohn’s 
advice  on  the  subject  was  requested ; that  he  was  to  be 

* In  this  Report,  the  result  of  the  negotiations  with  Mendelssohn, 
which  finally  caused  him  to  go  to  Berlin,  are  fully  detailed, — so  it  was 
considered  necessary  to  give  it  a place  hero. 

20 


230 


Mendelssohn’s  letters. 


appointed  the  fiiture  head  of  this  institute.  Further 
that  it  was  your  Majesty’s  pleasure  a certain  number 
of  concerts  (to  be  hereafter  fixed)  were  to  be  given 
every  year  under  his  direction,  with  the  aid  of  the 
Eoyal  orchestra  and  the  members  of  the  opera,  in 
which  oratorios  especially,  but  also  other  works,  such 
as  symphonies,  etc.,  were  to  be  performed.  Herr 
Mendelssohn,  in  two  letters  addressed  to  me,  on  the 
15th  December  and  the  2d  January,  expressed  his  gra- 
titude to  your  Majesty  for  so  honourable  an  offer,  as 
well  as  his  entire  satisfaction  with  regard  to  the  title 
and  the  salary ; he  however  reserved  his  full  acceptance 
of  the  proposal  until  the  duties  involved  in  the  situa- 
tion offered  to  him  in  Berlin  were  more  minutely 
detailed.  The  conscientiousness  thus  shown  by  Herr 
Mendelssohn  cannot  fail  to  be  acknowledged  and  re- 
spected; at  the  same  time,  he  promised  to  come  to 
Berlin  this  spring. 

The  Academy  of  Arts  being  regulated  by  the  Minis- 
ierium  of  the  departments  of  science,  instruction,  and 
medicine,  it  was  from  this  source  alone  that  the  wished- 
for  copy  of  the  rules  could  be  obtained  for  Herr  Men- 
delssohn ; as  this,  however,  could  not  be  immediately 
effected.  Minister  Eichhorn  resolved  to  discuss  the 
whole  affair  himself  with  Herr  Mendelssohn  regarding 
the  reorganization  of  the  musical  class,  and  your 
Majesty  was  pleased  to  permit  the  affair  to  rest  for  the 
time.  Herr  Mendelssohn,  according  to  his  promise, 
recently  came  here,  and  he  adheres  to  his  resolution  not 
to  accept  any  fixed  situation  in  your  Majesty’s  service 
till  he  is  previously  informed  what  duties  he  is  expected 
to  undertake. 


REPORT  TO  THE  KING  OF  PRUSSIA. 


231 


The  proposed  reforms  in  the  musical  section,  which 
are  probably  to  be  effected,  in  connection  with  many 
other  changes  in  the  Academy  of  Arts,  necessitate  the 
dissolution  of  existing  arrangements,  and  the  formation 
of  entirely  new  relations.  The  Royal  Ministerium^  if  a 
larger  musical  institute  were  established,  would  put  in 
their  claim  for  the  Royal  Theatre,  which,  by  previous 
regulations  of  existing  institutes,  must  be  included, 
along  with  most  of  the  artists  attached  to  it.  The  sum 
of  money  requisite  for  this  purpose  must  be  fixed  and 
granted.  These  are  all  reasons  which'  prevent  the 
Royal  Ministerium,  within  so  short  a period,  being  able 
to  arrange  such  a comprehensive  affair  sufficiently  to 
lay  these  proposals  before  your  Majesty,  and  also  render 
it  impossible  to  define  the  situation  for  Herr  Mendels- 
sohn, or  to  prescribe  the  duties  which,  as  Director  of 
the  musical  class,  he  must  undertake  to  fulfil. 

Herr  Mendelssohn,  on  the  other  hand,  must  declare, 
in  the  course  of  a few  weeks,  whether  it  is  his  intention 
to  give  up  his  situation  in  Leipzig  or  not : he  therefore 
presses  for  a decision. 

Under  these  circumstances,  with  the  express  stipula- 
tion, however,  of  your  Majesty’s  approbation,  I have 
made  the  following  proposal  to  Herr  Mendelssohn  : — 

That  for  the  present  he  should  only  for  a certain 
period  fix  his  residence  in  Berhn, — say,  a year, — placing 
himself  at  your  Majesty's  disposal^  in  return  for  which, 
your  Majesty  should  confer  on  him  the  title  of  Capell- 
meisfer^  but  without  imposing  on  him  the  performance 
of  the  duties  of  this  office  in  the  Royal  Opera;  like- 
wise the  previously-named  salary  of  three  thousand 
thalers  pro  anno  to  be  bestowed  on  him ; during  this 


232 


Mendelssohn’s  letters. 


time,  however,  he  is  neither  to«^hold  any  office,  nor  to 
undertake  any  definite  duties^  unless  in  the  course  of 
this  period  Herr  Eichhorn  should  furnish  him  with  the 
long-wished-for  details,  and  he  should  declare  himself 
satisfied  with  them,  in  which  case  the  reserved  consent 
as  to  a definitive  nomination  should  ensue. 

Herr  Mendelssohn  has  already  assured  me  that  he  is 
prepared  to  accept  the  proposal,  and  if  your  Majesty  be 
pleased  to  give  your  consent,  Herr  Eichhorn  would 
gain  time  to  consult  with  Herr  Mendelssohn  on  this 
affair,  and  to  place  distinct  proposals  before  your  Ma- 
jesty. From  the  well-known  honourable  character  of 
Herr  Mendelssohn,  it  may  be  confidently  anticipated 
that  in  this  kind  of  interim  relation  he  will  be  the  more 
anxious  to  devote  all  his  powers  to  your  Majesty,  from 
the  very  fact  of  his  duties  not  being  more  closely  de- 
fined. Such  a relation,  however,  can  only  be  advisable 
for  a certain  time ; one  year  has  therefore  been  agreed 
on.  If,  contrary  to  expectation,  the  re-organization  of 
the  musical  class  of  the  Academy  and  the  establishment 
of  a musical  institute  be  not  so  carried  out  as  to  cause 
Herr  Mendelssohn  the  conviction  of  finding  a field  of 
activity  for  his  bent  and  his  vocation,  or  if  the  claims 
on  him  should  prevent  his  acceptance,  or,  lastly, — 
which  I subjoin  at  the  express  desire  of  Herr  Mendels- 
sohn,— should  the  expectations  now  entertained  by 
your  Majesty  with  regard  to  him  not  be  fulfilled,  then 
the  relation  now  formed  shall  be  dissolved  at  the  end 
of  the  appointed  period  on  the  above  conditions,  and 
therefore,  in  an  honourable  manner. 

Herr  Eichhorn,  whom  I have  informed  of  the  pro- 
posal made  through  me  to  Herr  Mendelssohn,  and  also 


ACADEMY  OF  MUSIC  AT  BERLIN. 


233 


of  his  acceptance,  has,  on  his  side,  stated  no  objec- 
tions. 

Yonr  Majesty’s  decision  is  respectfully  solicited  at 
your  pleasure;  and,  awaiting  your  Majesty’s  further 
commands,  I am,  with  the  deepest  reverence. 

Your  Majesty’s  faithful  servant, 

V.  Massow. 


Memorandum  hy  Mendelssohn^  on  the  subject  of  a Music 
Academy  to  be  established  at  Berlin. 

Berlin,  May,  1841. 

It  is  proposed  to  establish  a German  Music  Academy 
in  Berlin,  to  concentrate  in  one  common  focus  the  now 
isolated  efforts  in  the  sphere  of  instruction  in  art,  in 
order  to  guide  rising  artists  in  a solid  and  earnest  direc- 
tion, thus  imparting  to  the  musical  sense  of  the  nation 
anew  and  more  energetic  impetus;  for  this  purpose, 
on  one  side,  the  already  existing  institutes  and  th(ur 
members  must  be  concentrated,  and  on  the  other,  the 
aid  of  new  ones  must  be  called  in. 

Among  the  former  may  be  reckoned  the  various 
Koyal  Academies  for  musical  instruction,  which  must 
be  united  with  this  Musical  Academy,  and  carried  on 
as  branches  of  the  same,  with  greater  or  less  modifi- 
cations, in  one  sense  and  in  one  direction.  In  these 
are  included,  for  example,  the  Institute  for  Eleves  of 
the  Royal  Orchestra  ; the  Organ  Institute  ; that  of  the 
Theatre  (limited  to  the  theatre  alone)  for  instruction  in 
singing,  declamation,  etc.  Further,  the  members  of 
the  Royal  Ca'pdle  must  be  required  to  give  instruction 
20* 


234 


Mendelssohn’s  letters. 


on  their  various  instruments.  A suitable  locality  can 
no  doubt  be  found  among  the  royal  buildings,  and  also 
a library,  with  the  requisite  old  and  new  musical 
works,  scores,  and  book^. 

The  new  appointments  to  consist  of — 

1.  A head  teacher  of  composition ; the  best  that  can 
be  found  in  Germany,  to  give  regular  instructions  in 
theory,  thorough-bass,  counterpoint,  and  fugues. 

2.  A head  teacher  of  solo  singing ; also  the  best  to 
be  had  in  Germany. 

3.  A head  teacher  of  choral  singing,  who  should  strive 
to  acquire  personal  influence  over  the  scholars  under 
his  care,  by  good  pianoforte -playing  and  steady  direc- 
tion. 

4.  A head  teacher  of  pianoforte-playing,  for  which 
office  a man  of  the  most  unquestionable  talent  and 
reputation  must  alone  be  selected.  The  other  teachers 
for  these  departments  could  be  found  in  Berlin  itself; 
nor  would  there  be  any  difficulty  in  procuring  teachers 
of  Esthetics,  the  history  of  music,  etc. 

The  complete  course  to  last  three  years ; the  scholars, 
after  previous  examination,  to  be  instructed  gratis  ; no 
prize  works  to  be  admitted  but  at  stated  periods ; all 
the  works  of  the  scholars,  from  the  time  of  their  admis- 
sion, to  be  collected  and  criticized  in  connection  with 
each  other,  and  subsequently  a prize  (probably  consist- 
ing of  a sum  sufficient  for  a long  journey  through 
Germany,  Italy,  France,  and  England)  to  be  adjudged 
accordingly.  Every  winter  a certain  number  of  con- 
certs to  take  place,  in  which  all  the  teachers  (including 
the  above-named  members  of  the  Royal  Capelle)  must 
co-operate,  and  by  which,  through  the  selection  of  the 


THE  PROPOSED  MUSICAL  ACADEMY. 


235 


music,  as  well  as  by  its  execution,  direct  influence  may 
be  gained  over  the  majority  of  the  public. 

The  following  principle  must  serve  as  a basis  for  the 
whole  Institute : that  every  sphere  of  art  can  only  ele- 
vate itself  above  a mere  handicraft,  by  being  devoted 
to  the  expression  of  lofty  thought,  along  with  the 
utmost  possible  technical  finish,  and  a pure  and  intel- 
lectual aim;  that  also  solidity,  precision,  and  strict  dis- 
cipline in  teaching  and  learning  should  be  considered 
the  first  law,  thus  not  falling  short  in  this  respect  of 
any  handicraft ; that  in  every  department,  all  teaching 
and  learning  should  be  exclusively  devoted  to  the 
thoughts  intended  to  be  expressed,  and  to  that  more 
elevated  mood,  to  which  technical  perfection  in  art 
must  ever  be  subordinate. 


To  Paul  Mendelssohn  Barthold y. 

Leipzig,  July  9 th,  1841. 

Dear  Brother, 

I send  you,  with  this,  a copy  of  the  Minister  Eich- 
horn’s  letter,  which  I received  this  evening.  It  is  evi- 
dent from  it  that  the  King  only  intends  to  make  me 
Capellmeister  if  the  plan  for  the  Academy  is  carried 
out ; not  otherwise.  If  this  be  his  irrevocable  determi- 
nation, I have  only  to  choose  between  two  alternatives ; 
to  go  to  Berhn  on  the  1st  of  August  without  the  title, 
and  without  any  further  public  appointment,  and  merely 
receive  the  salary  there,  or  at  once  to  break  off  all 
further  negotiations  on  the  matter,  and  never  to  renew 
them. 


236 


Mendelssohn’s  letters. 


Now,  I must  confess,  first,  that  I could  not  without 
unpleasant  feelings  enter  on  an  office,  after  having  con- 
siderably abated  my  own  demands;  secondly,  that  I 
still  find  all  those  reasons  valid,  now  as  heretofore, 
which  made  such  a title  necessary,  in  Herr  Massow’s 
opinion,  as  well  as  in  my  own,  in  order  to  enable  me  to 
give  the  desired  concerts  and  performances  in  the  course 
of  the  winter ; and,  thirdly,  it  appears  to  me  only  just 
that  from  the  first  I should  receive  a public  proof  of 
the  King’s  confidence ; for,  very  possibly,  after  the  lapse 
of  a year  no  renewal  of  the  relation  may  be  desired  on 
the  other  side,  in  which  case  I alone  shall  be  the  losing 
party,  for  they  only  risk  conferring  a title  for  nothing, 
while  I lose  my  present  situation,  and  you  know  that 
this  costs  me  no  smad  sacrifice.  I beg  you  will  com- 
municate this  letter  and  Eichhorn’s  to  Yon  Massow. 
He  will  observe  that  his  proposals,  and  the  results  of 
my  whole  residence  in  Berlin,  are  again  detailed,  so  that 
I must  go  to  Berlin  under  very  different  circumstances, 
which,  as  I said,  I am  very  unwilling  to  do.  Hear  what 
Massow  says,  and  let  me  know.  Do  not  forget  to  place 
strongly  before  him  that  I always  thought  it  probable,  and 
now  more  likely  than  ever,  that  no  definitive  arrange- 
ment about  the  Academy  would  take  place  in  one 
year,— not,  indeed,  from  any  fault  on  my  side,  or  from 
any  want  of  complaisance  in  me,  but  from  want  of  de- 
cision on  their  part.  I therefore  wished  at  that  time, 
and  wish  now,  that  there  should  be  something  definite, 
for  which  I am  called  to  Berlin.  I cannot  say  to  any  one 
that  the  mere  direction  of  the  Academy  is  a sufficient 
purpose.  If  they  choose  to  make  me  Greheimsecre- 
tar,”  instead  of  Capellmeister,  I am  equally  content, 


ACCEPTANCE  OF  THE  PROPOSAL. 


237 


but  I should  like  to  have  some  ostensible  ground  for 
going  there,  if  I am  to  go  at  all ; probably  the  affair 
will  be  now  more  complicated  by  my  having  in  the 
mean  while  received  the  much-discussed  tide  (deuce 
take  it !)  in  Saxony ; they  will  say,  what  is  the  use  of 
a second  ? and  pronounce  it  to  be  obstinacy  on  my  part. 
I appeal,  however,  to  the  above  reasons,  and  think,  on 
the  contrary,  that  it  proves  I did  not,  or  do  not,  insist 
on  this  point  from  any  love  of  a title. 

Pray,  pray  forgive  me,  dear  Brother ; you  have  most 
cause  to  complain;  for  in  any  case  I shall  reap  some 
advantage,  having  at  the  worst  gained  valuable  ex- 
perience, but  you  only  much  plague  and  lost  time  (even 
at  the  best,  by  which  I mean  my  remaining  in  Berlin). 
Forgive  me. — Ever  your 

Felix.* 


To  Carl  Klingemann,  London. 

Leipzig,  July  15th,  1841. 

My  dear  Friend, 

To-morrow  I go  with  some  pleasant  friends  to  Dres- 
den to  hear  Ungher  and  Moriani  sing,  to  see  Raphael 
and  Titian  paint,  and  to  breathe  the  air  of . that  lovely 
region.  A few  days  after  my  return  I am  off  for  a year 

* Massow’s  proposals  were  finally  accepted  by  Mendelssohn,  who 
came  to  Berlin;  there  were  many  conferences  held  as  to  the  remodel- 
ling of  the  musical  clnss  in  the  Acndemy,  and  the  organization  of  the 
future  Conservatorium ; but,  as  Mendelssohn  very  justly  foresaw,  all 
this  evaporated,  though  from  no  fault  of  his,  which  the  beginning  of 
Minister  Eichhorn’s  letter  of  the  2d  March,  1845.  fully  proves. 


238 


Mendelssohn’s  letters. 


to  Berlin,  one  of  the  sourest  apples  a man  can  eat,  and  yet 
eaten  it  must  be.  Strangely  enough,  there  seems  to  be  a 
misunderstanding  between  us  on  this  affair,  and  hitherto 
we  have  scarcely  ever  had  one.  You  think  I want  your 
advice,  and  mean  to  act  according  to  it ; but,  in  fact, 
when  I say  anything  to  you,  or  discuss  anything,  I say 
it  and  do  it  from  no  other  reason  than  from  instinct. 
I must  speak  to  you  or  discuss  whatever  is  of  importance 
to  me,  or  nearly  concerns  me ; it  cannot  be  otherwise, 
and  this  proceeds  so  little  from  that  tiresome  asking  for 
advice,  that  I am  convinced,  if  you  had  not  answered  me 
at  all,  and  if  we  had  not  spoken  to  each  other  for  ten 
years,  I should  have  asked  you  the  same  questions,  and 
expected  your  answer  as  eagerly  and  received  it  with  as 
much  pleasure  as  now.  There  is  a curious  misappre- 
hension on  your  part  with  regard  to  the  comparison  be- 
tween the  two  cities.  You  believe  (and  several  of  the  re- 
sidents here,  as  well  as  strangers,  have  told  me  the  same) 
that  here  in  Leipzig  we  have  comfort,  domestic  life,  and 
retirement,  and  in  Berlin,  public  efficacy  in  and  for 
Germany,  and  active  work  for  the  benefit  of  others, 
etc.,  etc. ; whereas  it  is  in  truth  exactly  the  reverse.  It 
is  just  because  I am  so  unwilling  to  be  burdened  with 
a sinecure,  the  public  active  efficiency  which  you  so 
urged  on  me  formerly,  and  which  seemed  to  myself  so 
necessary,  having  become  gradually  dear  to  me,  and 
nothing  of  the  kind  being  possible  in  Berlin, — it  is  for 
these  very  reasons  I go  there  unwillingly.  There,  all 
efforts  are  private  efforts  without  any  echo  in  the  land, 
and  this  they  certainly  do  have  here,  small  as  the 
nest  is.  I did  not  establish  myself  in  Leipzig  with  a 
view  to  a quiet  life  * on  the  contrary,  I felt  a longing 


HIS  NEW  POSITION  AT  BERLIN. 


239 


to  do  so,  because  here  all  is  so  gaj  and  motley.  On 
the  other  hand,  I have  mastered  and  learned  many 
things  which  could  only  be  thus  mastered  and  learned ; 
nor  have  I been  idle,  either ; I think  I am  on  a better 
footing  with  my  countrymen  in  Grermany,  and  have 
gained  their  confidence  more  than  I should  probably 
have  done  all  my  life  long  in  Berlin,  and  that  is  worth 
something,  too.  That  I am  now  to  recommence  a pri- 
vate life,  but  at  the  same  time  to  become  a sort  of 
schoolmaster  to  a Conservatorium,  is  what  I can 
scarcely  understand,  after  my  excellent  vigorous  orches- 
tra here.  I might  perhaps  do  so  if  I were  really  to 
enjoy  an  entirely  private  life,  in  which  case  I should 
only  compose  and  live  in  retirement ; but  the  mongrel 
Berlin  doings  interfere, — the  vast  projects,  the  petty 
execution,  the  admirable  criticism,  the  indifferent  musi- 
cians, the  liberal  ideas,  the  Court  officials  in  the  streets, 
the  Museum  and  the  Academy,  and  the  sand ! I doubt 
whether  my  stay  there  will  be  more  than  a year ; still 
I shall  ‘of  course  do  all  in  my  power  not  to  allow  this 
time  to  pass  without  some  profit  to  myself  and  others. 
I shall  have  no  solitude  during  the  time,  for  I must 
bestir  myself  and  write  what  I can ; a couple  of  earlier 
melodies  may  bring  up  the  rear-guard.  Many  others 
have  come  to  light  since  their  date ; you  see  I defend 
myself  vigorously,  with  claws  and  teeth.  Believe  me, 
Berlin  is  at  the  present  day  the  city  which  is  the  least 
efficacious,  and  Leipzig  the  most  beneficial  to  the  pub- 
lic. Bo  you  know  what  I have  recently  been  compos- 
ing with  enthusiasm  ? Yariations  for  the  j)iario, — ■ 
actually  eighteen  on  a theme  in  D minor;  and  they 
amused  me  so  famously,  that  I instantly  made  fresh 


240 


Mendelssohn’s  letters. 


ones  on  a theme  in  E flat  major,  and  now  for  the  third 
time  on  a theme  in  B flat  major.  I feel  quite  as  if  I 
must  make  up  for  lost  time,  never  having  written  any 
before. 


To  Conoert-Meister  Ferdinand  David,  Leipzig. 

Berlin,  August  9th,  1841. 

Dear  Friend, 

You  wish  to  hear  some  news  about  the  Berlin  Con- 
servatorium : so  do  I ; but  there  is  none.  The  affair  is 
on  the  most  extensive  scale,  if  it  be  actually  on  any 
scale  at  all,  and  not  merely  in  the  air.  The  King  seems 
to  have  a plan  for  reorganizing  the  Academy  of  Arts ; 
this  will  not  be  easily  effected,  without  entirely  chang- 
ing its  present  form  into  a very  different  one,  which 
they  cannot  make  up  their  mind  to  do ; there  is  little 
use  of  my  advising  it,  as  I do  not  expect  much  profit 
for  music  from  the  Academy,  either  in  its  present  or 
future  form.  The  musical  portion  of  the  new  academy 
is,  I believe,  to  become  a Conservatorium ; but  to  reor- 
ganize one  part  alone,  is  an  idea  which  cannot  be 
entertained  under  any  circumstances,  so  it  depends  now 
on  the  three  others.  A director  is  not  yet  found  for 
the  architectural  department,  and  in  the  four  different 
departments  the  existing  members  cannot  (or  at  least 
will  not)  be  superseded,  or  their  privileges  diminished : 
so  these  members  must  first  dii^  off;  but  we  must  die 
off  as  well  as  they,  and  whether  the  reorganization  will 
then  take  place  in  the  wished- for  manner  is  the  question 


HIS  NEW  POSITION  AT  BERLIN. 


241 


One  service  I have  at  all  events  accomplished  here,  in 
having  placed  these  relations  in  a clear  light,  and  free 
from  all  circumlocution, — so  that  there  will  be  no 
longer  any  necessity  to  refer  to  these  projects,  or  the 
discussions  connected  with  them,  until  the  obstacles  are 
removed. 

You  will  ask,  then,  what  in  the  world  do  they  want 
with  me  just  now  in  Berlin  ? My  answer  is,  on  the 
one  side,  I really  do  not  know ; on  the  other,  I believe 
that  it  is  intended  to  give,  during  the  winter,  some 
great  concerts,  with  the  addition  of  all  their  best  means, 
and  that  I am  to  direct  them,  some  in  church,  and  some 
in  the  concert-hall ; but  whether  they  will  ever  take 
place  seems  to  me  very  doubtful ; at  all  events  these 
are,  in  my  opinion,  the  only  projects  which  can  or  will 
be  carried  out  at  this  time. 


To  President  Yerkenius,  Cologne. 

Berlin,  August  14th,  1841. 
Dear  and  esteemed  Herr  President, 

Though  so  much  dehghted  by  recognizing  on  the 
address  of  your  letter  of  yesterday  the  well-known 
writing,  I was  equally  grieved  by  the  grave  and  mourn- 
ful tone  of  your  words,  and  I cannot  tell  you  how 
much  the  intelligence  of  your  continued  illness  alarms 
and  distresses  me.  It  is,  indeed,  often  the  case,  that, 
in  moments  of  indisposition,  everything  seems  to  us 
covered  with  a black  veil, — that  illness  drags  within  its 
domain  not  only  the  body,  but  also  the  spirit  and  the 
21 


242 


MENDELSSOHN^S  LETTERS. 


thoughts  (thus  it  is  always  with  me  when  I am  ailing 
or  ill),  but  with  returning  health  these  mournful  images 
are  chased  away.  Grod  grant  this  may  be  the  case  with 
you,  and  soon,  too,  very  soon ; such  sorrowful  moments, 
however,  are  not  less  distressing  at  the  time,  though 
they  quickly  pass  away  and  are  forgotten.  Would  that 
I could  do  anything  to  make  you  more  cheerful,  or  to 
drive  away  such  sad  thoughts  I These  are  the  mo- 
ments when  distance  seems  doubly  painful;  when 
cordially-loved  and  honoured  friends  are  in  suffering, 
and  yet  we  must  go  on  living  apart  from  them,  instead 
of  being  near  to  sympathize  with  them,  even  if  unable 
to  do  them  good  or  to  alleviate  their  troubles. 

You  say  that  my  letters  are  agreeable  to  you.  I 
shall  therefore  frequently  write ; let  me  know  if  I do 
so  too  often ; and  Heaven  grant  that,  in  return,  I may 
soon  receive  good  news  of  your  recovery,  from  your- 
self, or  one  of  your  family  I 

I have  now  been  a fortnight  here  with  my  family,  and 
am  living  with  my  mother  and  brother  and  sisters,  in 
the  very  same  house  wliich  I quitted  twelve  years  ago 
with  a heavy  heart.  The  more  unaccountable  is  it  to  me 
that,  in  spite  of  the  delight  of  being  with  my  mother 
and  family  once  more,  in  spite,  also,  of  every  advantage, 
and  many  and  glad  memories,  there  is  scarcely  a place 
in  aU  G-ermany  where  I feel  so  little  at  home  as  here. 
The  reason  of  this  may  be,  that  all  the  causes  which 
formerly  made  it  impossible  for  me  to  begin  and  to 
continue  my  career  in  Berlin,  and  which  drove  me 
away,  still  subsist,  just  as  they  formerly  did,  and  are 
likely,  alas ! to  subsist  to  the  end  of  time.  There  is  the 
same  frittering  away  of  all  energies  and  all  people,  the 


DISLIKE  OF  BERLIN. 


243 


same  unpoetical  striving  after  outward  results,  the  same 
superfluity  of  knowledge,  the  same  failure  in  production, 
and  the  same  want  of  nature,  the  same  illiberality  and 
backwardness  as  to  progress  and  development,  by 
which,  indeed,  though  the  latter  are  rendered  safer  and 
less  dangerous,  still  they  are  robbed  of  all  merit  and  of 
all  life.  I believe  that  these  qualities  will  one  day  be 
reproduced  here  in  all  things ; that  it  is  the  case  with 
music,  there  can  be  no  doubt  whatever.  The  King  has 
the  best  inclination  to  alter  and  to  improve  all  this ; 
but  if  he  were  to  hold  fast  his  will  steadily  for  a suc- 
cession of  years,  and  were  he  to  lind  none  but  people 
with  the  same  will,  working  unweariedly  in  accordance 
with  it, — even  then,  results  and  happy  consequences 
could  not  be  anticipated  till  after  a succession  of  years 
had  elapsed ; yet  here  these  are  expected  first  and  fore- 
most. The  soil  must  be  entirely  ploughed  and  turned 
up  before  it  can  bring  forth  fi:uit,  at  least  so  it  seems  to 
me  in  my  department;  the  musicians  work,  each  for 
himself,  and  no  two  agree ; the  amateurs  are  divided 
and  absorbed  into  thousands  of  small  circles ; besides, 
all  the  music  one  hears  is,  at  the  best,  only  indifferent ; 
criticism  alone  is  keen,  close,  and  well-studied.  These 
are  no  very  flattering  prospects,  I think,  for  the  ap- 
proaching period,  and  to  ‘‘  organize  this  from  the  foun- 
dation ” is  not  my  affair,  for  I am  deficient  both  in  ta- 
lent and  inclination  for  the  purpose.  I am,  therefore, 
waiting  to  know  what  is  desired  of  me,  and  probably 
this  will  be  hmited  to  a certain  number  of  concerts, 
which  the  Academy  of  Arts  is  to  give  in  the  coming 
winter,  and  which  I am  then  to  direct.  In  my  next 
letter,  I will  write  you  some  musical  details.  Heaven 


244 


Mendelssohn’s  letters. 


grant  that  I may  soon  be  tranquillized  about  your 
recovery,  and  may  we  meet  again  in  cheerfulness  and 
health;  God  grant  it! — Ever  your  faithful 

Felix  Mendelssohn  Bartholdy. 


To  President  Yerkenius,  Cologne. 

Berlin,  August  23d,  1841. 

Dear  Herr  President, 

You  see  that  I take  advantage  of  your  permission, 
and  write  constantly ; if  it  be  too  much  for  you,  let 
me  know  it,  or  do  not  read  my  letters.  May  it  please 
God  that  I shall  soon  receive  good  news  of  your  re- 
turning health  I I think  of  it  every  day,  and  I wish  it 
every  day  1 In  my  previous  letter  I promised  you  some 
details  of  musical  life  here,  so  far  as  I am  acquainted 
with  it.  Unfortunately,  there  is  very  little  that  is 
cheering  to  relate.  Here,  as  everywhere  else,  it  is  prin- 
cipally the  committees  which  ought  to  be  answerable 
for  this ; while,  as  these  are  appointed,  more  or  less,  by 
the  public,  I cannot  make  the  distinction  which  seems 
so  usual  with  the  Berliners,  who  abuse  and  revile  all 
committees,  both  musical  and  others,  and  yet  like  to 
see  them  remain  in  their  old  form.  The  whole  tendency 
of  the  musicians,  as  well  as  of  the  dilettanti^  is  too  little 
directed  to  the  practical ; they  play  chiefly  that  they 
may  talk  about  it,  before  and  afterwards:  so  the  dis- 
cussions are  better  and  wiser  than  in  most  other  places  in 
Germany,  but  the  music  more  defective.  Unfortunately, 
there  is  very  little  to  discuss  wHh  regard  to  music  and 


STATE  OF  MUSIC  AT  BERLIN. 


^45 


its  deficiencies ; the  only  thing  to  be  done  is  to  /eel, 
and  to  improve  it ; so  I have  not  the  least  idea  how  it 
is  ever  to  become  better.  In  the  orchestra  (excellent 
as  some  individual  members  of  it  are)  this  is,  alas  I too 
perceptible.  In  operas  and  symphonies,  I have  heard 
blunders,  and  false  notes  constantly  played,  which  could 
only  proceed  from  the  grossest  carelessness.  The  people 
are  royal  functionaries,  and  cannot  be  brought  to  ac- 
count, and  if  the  conversation  turns  on  these  faults 
afterwards,  they  strive  to  .prove  that  there  is  no  such 
thing  as  time,  or  should  be  none, — what  can  I say? 
but  item^  it  goes  badly.  I have  played  my  trio  ten  or 
twelve  times  here ; on  each  occasion  the  same  mistakes 
were  made  in  the  time,  and  the  same  careless  blunders 
in  the  accompaniment,  though  they  were  the  first  artists 
here  who  played  with  me.  The  blame  of  this  state  of 
things  rests  chiefly  on  Spontini,  who  was  for  so  long  a 
period  at  their  head,  and  who  rather  oppressed  than 
sought  to  elevate  and  improve  the  many  excellent 
musicians  in  this  orchestra.  My  conviction  is,  that 
Spohr  would  be  the  man  to  aid  them,  and  to  restore 
proper  order ; but  just  because  he  is  so,  h^  will  not  be 
elected;  too  many  talk  about  it,  and  wish  to  have 
everything  in  ideal  beauty ; and  this  produces  medio- 
crity. The  dilettanti  doings  are  even  worse.  Their 
chief  organ  and  institution  is  the  Academy  for  Sing- 
ing, and  there  each  individual  considers  himself  far 
superior  to  the  Director.  But  if  they  really  did  all 
know  properly  how  things  should  be,  they  would  sing 
better  together, — whoever  directed, — and  the  false 
notes,  and  errors  in  time,  would  disappear, — ^but  they 
by  no  means  disappear.  So  here,  again,  it  is  mostly 
21* 


246 


Mendelssohn’s  letters. 


all  talk.  I lately  heard  Pasta  in  “ Semir amide.”  She 
sings  now  so  fearfully  out  of  tune,  especially  in  the 
middle  notes,  that  it  is  quite  painful  to  listen  to  her 
but,  of  course,  the  splendid  remains  of  her  great  talent, 
the  traces  of  a first-class  singer,  are  often  unmistakable. 
In  any  other  city,  this  dreadful  want  of  tune  would 
have  been  felt  first  of  all,  and,  afterwards,  the  remem- 
brance that  she  was  a great  artist  would  have  recurred; 
here  every  one  said,  beforehand,  that  here  was  the 
Pasta,  she  was  old,  she  could  not  longer  sing  in  tune, 
so  this  must  be  put  out  of  the  question.  In  other 
places,  they  would  perhaps  have  unjustly  abased  her ; 
here  they  as  unjustly  praised  her  to  the  skies,  and  after 
deliberate  reflection,  and  entire  consciousness  of  the 
state  of  things,  they  continued  to  be  dehghted : this  is 
a bad  kind  of  delight ! 

How  hypochondriacal  this  letter  is  become  ! I 
ought  rather  to  write  to  you  in  a gayer  strain,  to  cheer 
you.  Next  time  I shall  try  to  find  a more  rose- 
coloured  aspect;  forgive  the  dark-brown  hues  of  to- 
day.* With  the  most  heartfelt  and  cordial  wishes  for 
your  recovery,  I am  always,  your  loving 

Felix  Mendelssohn  Bartholdy. 


* T^e  death  of  President  Yerkenius  ended  the  correspondence  Ij 
this  Letter. 


nis  PROSPECTS  AT  BERLIN. 


247 


To  Franz  Hauser, 

{Present  Director  of  the  Conservatorium  in  Munich.) 

Berlin,  October  12th,  1841. 

...  I do  not  know  what  you  have  been  told  about 
Berlin  and  its  prospects.  If,  however,  you  allude  to 
the  project  of  which  all  the  people  and  all  the  journals 
are  speaking,  that  of  establishing  a Musical  Conserva- 
torium  here,  then  I regret  to  be  obliged  to  say  that  I 
know  no  more  about  it  than  every  one  else  seems  to 
know.  It  is  said  the  desire  for  it  exists,  and  perhaps  a 
remote  prospect,  but  far  too  remote  for  anything  to  be 
told  about  it  with  the  least  certainty  at  present. 
Years  may  pass  away,  nothing  may  ever  come  of  it 
(which  is  not  at  aU  improbable),  and  also  it  may  soon 
be  again  discussed.  During  the  last  three  months 
which  I passed  here  I came  to  this  conclusion,  on  see- 
ing the  proceedings  more  closely.  I am  so  kindly 
received  on  every  side,  that  personally  I can  wish  for 
nothing  better,  and  have  only  cause  for  gratitude.  But 
though  it  is  easy  for  a person  here  to  do  what  he 
chooses,  it  is  proportionably  difficult  to  aid  the  cause ; 
and  yet  that  is,  after  all,  the  most  important  point,  and 
should  be  the  very  first.  If  I only  knew  how  to  make 
this  better!  In  the  mean  while  I write  music,  and 
when  asked  a question  I answer  it. 


248 


Mendelssohn’s  letters. 


To  Concert-Meister  Ferdinand  David,  Leipzig. 

Berlin,  October  21st,  1841. 

Dear  David, 

Thanks  for  your  having  at  once  read  through  Anti- 
gone.” I felt  assured  beforehand  that  it  would  please 
you  beyond  measure  when  you  did  so ; and  the  very 
impression  which  reading  it  made  on  me,  is  in  fact  the 
cause  of  the  affair  being  accomphshed.  There  was  a 
great  deal  of  talking  about  it,  but  no  one  would  begin ; 
they  wished  to  put  it  off  till  next  autumn,  and  so  forth ; 
but  as  the  noble  style  of  the  piece  fascinated  me  so 
much,  I got  hold  of  old  Tieck,  and  said  ‘^ISTow  or 
never !”  and  he  was  amiable,  and  said  “Now!”  and  so 
I composed  music  for  it  to  my  heart’s  content;  we 
have  two  rehearsals  of  it  daily,  and  the  choruses  are 
executed  with  such  precision  that  it  is  a real  delight  to 
listen  to  them.  All  in  Berlin  of  course  think  that  we 
are  very  sly,  and  that  I composed  the  choruses  to 
become  a court  favourite,  or  a court  musicus^  or  a court 
fool;  while  at  the  beginning  I thought,  on  the  con- 
trary, that  I would  not  mix  myself  up  with  the  affair ; 
but  the  piece  itself,  with  its  extraordinary  beauty  and 
grandeur,  drove  everything  else  out  of  my  head,  and 
only  inspired  me  with  the  wish  to  see  it  performed  as 
soon  as  possible.  The  subject  in  itself  was  glorious, 
and  I worked  at  it  with  heartfelt  pleasure.  It  seems 
to  me  very  remarkable  that  there  is  so  much  in  art 
quite  unchangeable.  The  parts  of  all  these  choruses 
are  to  this  day  so  genuinely  musical,  and  yet  so  different 
from  each  other,  that  no  man  could  wish  anything  finer 
for  his  composition.  If  it  were  not  so  difficult  here  to 


ANTIGONE. 


249 


come  to  any  kind  of  judgment  about  a work  I There 
are  only  shameless  flatterers,  or  equally  shameless  cri- 
tics, to  be  met  with,  and  there  is  nothing  to  be  done 
with  either,  for  both  from  the  very  first  deprive  us  of 
all  pleasure.  As  yet  I have  had  only  to  do  with  admi- 
ration. After  this  performance  the  learned  will,  no 
doubt,  come  forward  and  reveal  to  me  how  I should 
and  must  have  composed,  had  I been  a Berhner. — 
Tour 

Felix  Mendelssohn  Bartholdy. 


To  Professor  Dehn,  Berlin.* 

Berlin,  October  28th,  1841, 

Sir, 

The  kind  and  amiable  feelings  which  your  letter  of 
yesterday  testified  towards  me  caused  me  great  plea- 
sure, and  I beg  to  thank  you  very  sincerely  and  truly. 
Although  I entirely  agree  with  you  that  my  choruses 
to  Antigone  ” will  furnish  an  opportunity  for  a num- 
ber of  unfair  and  malignant  attacks,  still  I cannot  meet 
these  unpleasant  probabilities  by  the  means  which  you 
are  so  good  as  to  propose  to  me.  I have  always  made 
it  an  inviolable  rule,  never  to  write  on  any  subject 
connected  with  music,  in  newspapers,  nor  either  direct- 
ly or  indirectly  to  prompt  any  article  to  be  written 
on  my  own  compositions;  and  although  I am  well 
aware  how  often  this  must  be  both  a temporary  and  sen- 


* In  answer  tL  the  Professor’s  offer  to  write,  or  to  cause  to  be  writ 
ten,  something  in  his  musical  paper  with  regard  to  “ Antigone.” 


250 


MENDELSSOHN  S LETTERS. 


Bible  disadvantage,  still  I cannot  deviate  from  a resolu- 
tion which  I have  strictly  followed  out  under  all  circum- 
stances. I dechne,  therefore,  accepting  your  obliging 
offer ; but  I beg  you  will  believe  that  my  gratitude  for 
the  friendly  intentions  you  expressed  remains  the 
same  j and,  in  the  hope  of  soon  finding  an  opportunity 
to  repeat  this  assurance  in  person,  I am,  etc.* 


To  Professor  Kostlin,  Tubinoen. 

Berlin,  December  15th,  1841. 

. . . When  I was  lately  in  society,  I was  seated  next 
a lady  at  supper  who  spoke  the  South  G-erman  dialect, 
and  seemed  at  home  in  Stuttgart,  so  I thought  I 
would  ask  her  if  she  knew  anything  of  Tubingen,  and 
inquired  about  Professor  Kostlin.  She  said  she  did  not 
know  him,  but  one  of  her  acquaintances  had  written  to 
her  that  he  had  been  recently  betrothed.  This  was  the 
first  happy  news.  She  did  not  know  the  name  of  the 
bride,  but  so  far  she  remembered,  that  she  was  from 
Munich,  and  a fine  musical  genius.  I had  instantly  a 
presentiment.  I vowed  it  must  be  Josephine  Lang. 
She  thought  it  was  another  name  ; but  she  would  look 
at  the  letter  when  she  went  home.  JSText  morning  I 
got  a note.  The  bride  of  Herr  Kostlin  is  Josephine 
Lang,  after  all,  and  he  has  been  recently  in  Munich,  and 
then  in  Stuttgart  with  her,”  etc.  Had  it  not  been  for 
this  last  piece  of  intelligence,  I would  have  written  to 
you  instantly,  to  offer  you  both  my  congratulations  and 


* Compare  also  his  letter  to  Julius  Stern  of  the  27th  of  May,  1844. 


MADEMOISELLE  LANG. 


251 


to  express  my  most  heartfelt  joy.  Now  I nave  got 
your  welcome  letter,  and  the  details  of  the  piece  of 
good  news  the  South  G-erman  lady  told  me ; first,  then, 
receive  my  thanks  for  it,  and  then  accept  my  fervent 
prayers  for  a blessing  on  your  fortunate  union,  my 
wishes  for  health  for  you  and  your  bride  (happiness  and 
every  other  good  you  already  have),  and  my  cordial, 
most  cordial  sympathy  in  all  connected  with  you  both, 
now  and  for  the  future.  Whatever  concerns  you  con- 
cerns me  also.  If  I were  not  the  most  miserable  cor- 
respondent in  the  world,  I should  have  written  to  your 
bride  six  months  ago,  to  thank  her  for  the  two  books 
of  songs  she  published.  I have  done  so  in  thought 
twenty  times  at  least.  It  is  long  since  I have  seen  any 
new  music  so  genial,  or  which  affected  me  so  deeply,  as 
these  charming  songs;  their  appearance  was  equally 
unexpected  and  welcome,  not  only  to  me,  but  to  all 
those  whose  predilections  are  in  accordance  with  my 
own,  who  participate  in  my  love  of  music,  and  feel  in  a 
similar  manner  with  myself.  I sent  my  sister  a copy 
at  the  time  from  Leipzig,  but  when  it  arrived  she  had 
already  bought  one,  without  our  ever  having  corre- 
sponded on  the  subject.  The  “ poem,”  in  F sharp  major, 
is,  I think,  best  of  all,  and  the  “ Lenau  Meer,”  in  0 
major,  and  the  “ Fruhlingskinder  ” in  E,  and  the  Goe- 
the’schen  geliebten  Baume  ” in  D ; I also  think  the 
“ Blumauer’sche  ” in  F major  I wonderfully  lovely. 
Nothing  more  charming  could  be  devised  than  the 
happy  way  in  which  they  prattle  together,  one  after  the 
other  telhng  their  tale,  and  all  so  delicate  and  sportive, 
and  a httle  amorous  too.  In  so  many  passages  in  both 
books,  I thought  I heard  Josephine  Lang’s  voice,  though 


252 


MENDELSSOHNS  LETTERS. 


it  is  a long  time  now  since  I have  heard  her  sing ; but 
there  are  many  inflections  peculiar  to  her,  and  which 
she  inherits  from  the  grace  of  Grod,  and  when  such  a 
turn  occurred  in  the  music,  she  made  a little  turn  with 
her  head ; and  in  fact  the  whole  form,  and  voice,  and 
manner,  were  once  more  placed  before  my  eyes  by 
these  songs.  I intended  to  have  written  all  this  to  her, 
and  to  have  thanked  her  a thousand  times  in  my  name, 
and  in  that  of  all  my  friends.  Now  this  will  come 
sadly  in  the  background,  for  our  cordial  congratulations 
must  take  place  of  everything  else,  and  prevent  any 
other  topic  being  alluded  to.  But  when  you  tell  her 
of  these,  tell  her  at  the  same  time  what  pleasure  she 
caused  us  all. 

For  Heaven’s  sake,  urge  her  to  continue  composing. 
It  is  really  your  duty  towards  us  all,  who  continually 
long  and  look  for  good  new  music.  She  once  sent  me 
a collection  of  the  music  of  various  composers,  with 
some  of  her  own,  saying  that  among  so  many  master- 
works  she  hoped  I would  view  her  attempts  with  indul- 
gence, etc.  Oh,  G-emini ! how  petty  many  of  these 
chefs-d'oeuvre  appear  beside  her  fresh  music  I So,  as  I 
said,  instigate  her  strongly  to  new  compositions. 

If  I have  still  a wish  to  form,  it  is  that  your  blissful 
betrothal  mood  may  be  continued  in  marriage ; that  is, 
may  you  be  like  me,  who  feel  every  day  of  my  life  that 
I cannot  be  sufficiently  thankful  to  God  for  my  happi- 
ness. 

Do  not  punish  me  for  my  laziness  as  a correspondent. 
I really  cannot  contrive  to  write  a tolerably  sensible 
letter  to-day ; still,  you  must  write  to  me  from  time  to 
time.  If  it  were  by  music  I should  not  complain,  for 


LETTER  TO  HIS  MOTHER.  253 

yrnhr  music  is  speech,  though  probably  you  have  other 
things  to  think  of. 

And  now  farewell  for  to-day,  and  remember  kindly 
your  devoted 

Felix  Mendelssohn  Bartholdy. 


To  his  Mother. 


London,  June  21st,  1842 

Dear  Mother, 

Your  letter  of  yesterday  was  most  charming,  and 
gave  us  so  much  pleasure,*  that  I must  thank  you  for 
it  in  detail  to-day ; I could  scarcely  do  so  as  I wished 
for  the  previous  one,  containing  quite  a kaleidoscope  of 
events  in  Berlin,  which  through  the  glasses  of  your 
description  assumed  constant  novel  and  pleasing  forms. 
If  I could  write  half  as  well,  you  should  receive  to-day 
the  most  charming  letter,  for  we  are  daily  seeing  the 
most  beautihil  and  splendid  objects ; but  I am  some- 
what fatigued  by  the  incessant  bustle  of  this  last  week, 
and  for  two  days  past  I have  been  chiefly  lying  on  the 
sofa  reading  Wilhelm  Meister,”  and  strolling  through 
the  fields  with  Klingemann  in  the  evening,  to  try  to 
restore  myself 

So,  if  the  tone  of  this  letter  is  rather  languid  and 
weary,  it  accurately  paints  my  feehngs.  I have  really 
been  urged  to  do  too  much.  Lately,  when  playing  the 
organ  in  Christ  Church,  hTewgate  Street,  I almost 
thought,  for  a few  moments,  I must  have  been  sufib- 


* Mendelssolm  and  his  wife. 
22 


254 


MENDELSSOHNS  LETTERS. 


Gated,  so  great  was  the  crowd  and  pressure  round  my 
seat  at  the  organ ; and  two  days  afterwards  I played  in 
Exeter  Hall  before  three  thousand  people,  who  shouted 
hurrahs  and  waved  their  handkerchiefs,  and  stamped 
with  their  feet  till  the  hall  resounded  with  the  uproar ; 
at  the  moment  I felt  no  bad  effects  from  this,  but  next 
morning  my  head  was  confused  and  stupefied.  Add  to  this 
the  pretty  and  most  charming  Queen  Victoria,  who  looks 
so  youthful,  and  is  so  gently  courteous  and  gracious,  who 
speaks  such  good  German  and  who  knows  all  my  music 
so  well, — the  four  books  of  songs  without  words  and 
those  with  words,  and  the  symphony,  and  the  Hymn 
of  Praise.”  Yesterday  evening  1 was  sent  for  by  the 
Queen,  who  was  almost  alone  with  Prince  Albert,  and 
who  seated  herself  near  the  piano  and  made  me  play  to 
her;  first  seven  of  the  “songs  without  words,”  then 
the  serenade,  two  impromptus  on  “ Kule  Britannia,” 
Lutzow’s  “Wilde  Jagd,”  and  “ Gaudeamus  igitur.”  The 
latter  was  somewhat  difficult,  but  remonstrance  was 
out  of  the  question,  and,  as  they  gave  the  themes,  of 
course  it  was  my  duty  to  play  them.  Then  the  splendid 
grand  gallery  in  Buckingham  Palace  where  they  drank 
tea,  and  where  two  boars  by  Paul  Potter  are  hanging, 
and  a good  many  other  pictures  which  pleased  me  well. 
I must  tell  you  that  my  A minor  symphony  has  had 
great  success  with  the  people  here,  who  one  and  all 
receive  us  with  a degree  of  amiability  and  kindness 
which  exceeds  all  I have  ever  yet  seen  in  the  way  of 
hospitality,  though  this  sometimes  makes  me  feel  my 
head  quite  bewildered  and  strange,  and  I am  obliged 
to  collect  my  thoughts  in  order  not  to  lose  all  self- 
possession. 


HIS  POPULARITY  IN  ENGLAND. 


255 


June  22d — To-day,  however,  I can  continue  my  letter 
in  a more  cheerful  spirit ; I have  slept  away  my  weary 
mood,  and  feel  again  quite  fresh  and  well.  Yesterday 
evening  I played  my  concerto  in  D minor,  and  directed 
my  “ Hebrides  ” in  the  Philharmonic,  where  I was  re- 
ceived like  an  old  friend,  and  where  they  played  with 
a degree  of  enthusiasm  which  caused  me  more  pleasure 
than  I can  describe.  The  people  make  such  a fuss  with 
me  this  time  that  I feel  really  quite  abashed ; I believe 
they  clapped  their  hands  and  stamped  for  at  least  ten 
minutes  after  the  concerto,  and  insisted  on  the  He- 
brides” being  repeated.  The  directors  are  to  give  a 
dinner  at  Greenwich  next  week,  and  we  are  to  sail 
down  the  Thames  in  corpore  and  to  make  speeches. 
They  talk  of  bringing  out  ‘‘Antigone”  at  Co  vent  Gar- 
den as  soon  as  they  can  procure  a tolerable  translation. 
Lately  I went  to  a concert  in  Exeter  Hall  where  I had 
nothing  whatever  to  do,  and  was  sauntering  in  quite 
coolly  wi'ch  Klingemann, — in  the  middle  of  the  first 
part,  and  an  audience  of  about  three  thousand  present, 
— when  just  as  I came  in  at  the  door,  such  a clamour, 
and  clapping,  and  shouting,  and  standing  up  ensued, 
that  I had  no  idea  at  first  that  I was  concerned  in  it ; 
but  I discovered  it  was  so.  On  reaching  my  place,  I 
found  Sir  Kobert  Peel  and  Lord  Wharnclifie  close  to  me, 
who  continued  to  applaud  with  the  rest  till  I made  my 
bow  and  thanked  them.  I was  immensely  proud  of  my 
popularity  in  Peel’s  presence.  When  I left  the  concert 
they  gave  me  another  hurrah. 

Oh ! how  splendidly  Mrs.  Butler,  at  Chorley’s,  lately 
read  aloud  Shakespeare’s  “Antony  and  Cleopatra;  ” wo 
have  always  been  on  the  most  friendly  terms  since  oui 


256 


Mendelssohn’s  letters. 


acquaintance  twelve  years  ago,  when  she  was  Miss 
Fanny  Kemble ; and  she  gave  this  reading  in  honour 
of  me,  and  quite  too  beautiful  it  was ; and  Lady  Morgan 
was  there,  and  Winterhalter,  and  Mrs.  Jameson,  and 
Duprez,  who  afterwards  sang  a French  Romance  of  a 
starving  old  beggar,  and  another  of  a young  man  losing 
his  reason,  with  the  refrain^  Le  vent  qui  vient  a tra- 
vers  la  montagne  me  rendra  fou!  ” “Sweet!  ” said  the 
ladies;  and  Benedict,. and  Moscheles,  and  the  Grotes — 
who  can  enumerate  them  all  I This  evening  at  seven 
o’clock  we  dine  with  Bunsen,  and,  as  we  do  not  know 
what  to  do  with  our  evening  afterwards,  we  shall  pro- 
bably drive  to  Charles  Kemble’s  about  eleven  o’clock 
and  be  among  his  early  guests ; the  late  ones  will  not 
arrive  till  after  midnight.  We  have,  too,  such  invariably 
bright  and  beautiful  weather.  One  day  lately  we  saw 
first  in  the  morning  the  Tower,  then  the  Katharine 
Docks,  then  the  Tunnel,  and  ate  fish  at  Blackwall,  had 
luncheon  at  Greenwich,  and  home  by  Beckham ; we 
travelled  on  foot,  in  a carriage,  on  a railway,  in  a boat, 
and  in  a steamboat.  The  day  after  to-morrow  we  in- 
tend to  go  to  Manchester  for  a couple  of  days,  and  next 
week  be  on  our  way  back  to  Frankfort.  I have  given 
up  the  musical  festival  at  the  Hague,  though  they 
pressed  me  very  hard  to  go  there  for  my  “ Hymn  of 
Praise.”  I wish  to  have  nothing  to  do  with  music 
during  the  next  few  weeks. 

I have  still  a vast  deal  to  say  to  Fanny  about  the 
Bridgewater  Collection,  where  pictures  and  sketches 
by  Hensel  are  hanging  up,  and  Sutherland  House,  and 
Grosvenor  House,  etc.,  etc. ; and  to  Rebecca,  about  the 
meeting  of  scientific  men  at  Manchester,  to  which  I 


ADVICE  TO  A FRIEND. 


257 


was  invited,  but  unfortunately  I could  not  go  to  greet 
Whewell.  Jacoby  and  Enke  were  also  there;  I alone 
was  absent. 

But  I must  conclude.  May  we  soon  have  a happy 
meeting,  dearest  Mother,  and  dearest  Brother  and 
Sisters. — Youi 

Felix. 


To  Carl  Eckert,  Paris. 

Berlin,  January  26th,  1842. 

Dear  Eckert, 

I have  been  long  in  your  debt  for  an  answer  to  your 
kind  letter;  pray  forgive  this.  I have  been  living  such 
a stirring,  excited  life  this  year,  that  I am  more  than 
ever  unable  to  carry  on  any  correspondence.  I need 
not  tell  you  the  great  pleasure  I felt  in  hearing  from 
you,  and  always  shall  feel  every  time  that  I do  so.  You 
know  how  entirely  you  won  my  regard  during  the 
years  when  you  resided  in  Leipzig,  and  how  highly  I 
both  honour  and  estimate  your  talents  and  your  cha- 
racter. It  is  really  difficult  to  say  which,  in  the  pre- 
sent day,  should  be  considered  most  important;  without 
talent  nothing  can  be  done,  but  without  character  just 
as  httle.  We  see  instances  of  this  day  after  day,  in 
people  of  the  finest  capacities,  who  once  excited  great 
expectations,  and  yet  accomplish  nothing.  May  Heaven 
bestow  on  you  a continuous  development  of  both,  in 
the  same  measure  that  within  the  last  few  years  you 
have  made  progress ; or,  rather,  bestow  all  this  on  your- 
self ^ for  Heaven  can  do  no  more  than  endow  you  with 
22* 


258 


Mendelssohn’s  letters 


the  germs  and  capabilities  for  this  end,  with  which  it 
has  already  so  richly  endowed  you : the  rest  becomes 
the  adair,  and  the  responsibility,  of  each  individual. 
Such  a preaching  tone  must  sound  very  strange  to  you, 
living  in  joyous  Paris ; but  it  is  a part  of  the  world  and 
of  life,  that  every  wild  animal  has  its  own  special  skin 
and  roar,  so  I continue  to  roar  in  my  old  tones. 

Hofrath  Forster  sent  me  yesterday  your  ‘‘Lieder 
ohne  Worte,”  and  your  overture,  so  I have  occupied 
myself  with  little  else  than  with  you  and  your  compo- 
sitions, and  heartily  rejoice  in  both ; in  the  former  from 
the  memory  of  the  past,  and  in  the  latter  from  the 
pleasure  of  the  present.  Both  yesterday  and  to-day  I 
have  looked  through,  and  played  through,  your  charm- 
ing “ Lieder  ” with  the  greatest  delight ; they  all  please 
me,  and  are  thorouglily  genial,  earnest  music.  More, 
more,  a thousand  times  more,  in  this  and  every  other 
style  I The  overture  in  F sharp  major,  too,  caused  me 
great  pleasure,  and  suits  me  almost  throughout ; a few 
passages  only  seem  to  me  rather  too  amplified : we 
must  not  write,  however,  but  speak  on  this  subject 
when  we  meet  again,  although  the  only  really  import- 
ant thing  I have  to  say  with  regard  to  your  music,  I 
have  already  said  in  this  letter, — more,  more ! You 
have  reached  a standard  that  may  in  every  relation 
well  be  called  a mastership,  which  all  musicians  or 
friends  of  music  must  highly  esteem,  and  beyond  which 
nothing  actually  extrinsic  (whether  it  be  called  erudi- 
tion or  recognition,  facility  and  knowledge,  or  honour 
and  fame)  is  any  longer  worth  striving  for ; but  this  is, 
in  my  opinion,  just  che  time  when  true  work  really  first 
begins.  The  question  is  tlien  solely  what  is  felt  and 


VISIT  TO  LEIPZIG. 


259 


experienced  within  a man’s  own  breast,  and  uttered 
from  the  depths  of  his  heart,  be  it  grave  or  gay,  bitter 
or  sweet' — character  and  life  are  displayed  here ; and 
in  order  to  prevent  existence  being  dissipated  and 
wasted  when  brilliant  and  happy,  or  depressed  and  de- 
stroyed when  the  reverse,  there  is  but  one  safeguard, — 
to  work,  and  to  go  on  working.  So,  for  your  sake,  I 
have  only  one  wish,  that  you  may  bring  to  light  what 
exists  within  you,  in  your  nature  and  feelings,  which 
none  save  yourself  can  know  or  possess.  In  your 
works,  go  deeper  into  your  inmost  being,  and  let  them 
bear  a distinct  stamp  ; let  criticism  and  intellect  rule  as 
much  as  you  please  in  all  outward  questions  and  forms, 
but  in  all  inner  and  original  thought,  the  heart  alone, 
and  genuine  feeling.  So  work  daily,  hourly,  and  unre- 
mittingly,— there  you  never  can  attain  entire  mastery 
or  perfection ; no  man  ever  yet  did,  and  therefore  it  is 
the  highest  vocation  of  life. 

I was  three  weeks  in  Leipzig  not  long  since,  where 
I was  well  amused,  and  both  heard  and  assisted  in 
much  good  music.  One  morning  I went  to  the  Klen- 
gels’;  it  was  on  the  Wednesday  of  the  fast-week,  at 
eleven  o’clock  in  the  forenoon ; the  old  gentleman  was 
sitting  in  his  dressing-gown  at  the  piano.  As  during 
the  whole  week  there  had  been  no  rehearsal  of  any  con- 
cert, he  had  made  ISTanne  sing  a little.  The  conversa- 
tion turned  on  Julius’s  “ Lieder.”  If  we  only  had  an 
alto  !”  said  they.  I offered  to  sing  falsetto  ; the  music 
was  brought,  and  good  red  wine  beside.  We  sat  round 
the  table,  and  sang  all  his  songs,  which  dehghted  me 
exceedingly,  and  some  of  yours  also.  I had  a great 
deal  to  do  that  morning,  but  I stayed  on  till  half-past 


260 


Mendelssohn’s  letters. 


one  o’clocK,  and  could  not  resolve  to  come  aw'ay.  See 
if  you  can  find  such  mornings  in  Paris  1 And  you  in 
Berlin,”  you  will  reply. 

Now,  farewell;  continue  your  regard  for  me,  and 
ever  believe  me  your  friend, 

Felix. 


To  HIS  Mother. 

Interlachen,  August  18th,  1842. 

My  dearest  Mother, 

Do  you  still  remember  our  staying,  twenty  years 
ago,  in  a pretty  small  inn  here,  shaded  by  large  walnut- 
trees  (I  sketched  some  of  them),  and  our  lovely  young 
landlady  ? When  I was  here  ten  years  ago,  she  refused 
to  give  me  a room,  I looked  so  shabby  from  my  pedes- 
trian journey ; I believe  that  was  the  only  real  vexa- 
tion I at  that  time  experienced  during  the  whole  course 
of  my  tour.  Now  we  are  living  here  again  as  substan- 
tial people.  The  Jungfrau,  with  her  silver  horns, 
stands  out  against  the  sky,  with  the  same  delicate,  ele- 
gant, and  pointed  outlines,  and  looks  as  fresh  as  ever. 
The  landlady,  however,  is  grown  old,  and  had  it  not 
been  for  her  manner  I should  never  have  recognized 
her  to  be  the  same  person.  I have  again  sketched  the 
walnut-trees,  much  better  than  I did  at  that  time,  but 
far  worse  than  they  deserve ; the  post  in  Untersee 
brings  us  letters  from  the  same  house  as  it  did  then, 
and  many  new  houses  are  built ; and  the  Aar  gurgles 
and  glides  along  as  rapid,  and  smooth,  and  green  as 
ever, — iime  time  waSj  time  is  past,  I have,  in  fact, 


SWITZERLAND. 


261 


nothing  more  to  write  about,  except  that  we  are  all 
well,  and  think  of  you  daily  and  hourly.* 

Descriptions  of  Switzerland  are  impossible,  and  in- 
stead of  a journal,  such  as  I formerly  kept,  I this  time 
sketch  furiously,  and  sit  in  front  of  a mountain,  and  try 
to  draw  its  likeness,  and  do  not  give  it  up  till  I have 
quite  spoiled  the  sketch ; but  I take  care  to  have  at 
least  one  new  landscape  in  my  book  every  day.  He 
who  has  not  seen  the  G-emmi  knows  nothing  of 
Switzerland ; but  this  is  what  people  say  of  every  new 
object  in  this  most  incredibly  beautiful  country.  With 
regard  to  this  land,  I feel  just  as  I do  about  clever 
books;  when  one  is  exchanged  for  another,  in  every 
exchange  a new  phase  presents  itself,  always  equally 
fine  and  equally  admirable.  So  now,  when  I see  this 
country  with  my  wife,  I have  quite  a different  impres- 
sion from  the  previous  times ; then  I wished  forthwith 
to  climb  every  crested  mountain,  and  to  run  into  every 
meadow;  this  time,  on  the  contrary,  I should  like  to 
stay  everywhere,  and  to  remain  for  months  in  one  spot. 
I am  by  no  means  sure  that  some  fine  spring  I may  not 
set  off,  bag  and  baggage,  not  returning  to  the  North 
till  all  the  leaves  are  gone.  Such,  at  least,  are  my 
daily  thoughts,  and  castles  in  the  air.  In  a few  days 
we  are  going  into  Oberland ; I rejoice  at  the  thoughts 
of  the  full  moon  in  Lauterbrunn.  We  then  return 
here,  across  Furka  and  Grimsel  to  the  Lake  of  Lucerne 
and  the  Righi,  and  thence  away  from  the  land  of  all 
lands,  and  back  to  Germany, — where  it  is  not  so  bad, 
after  all.  I own  there  are  many  days  when  the  world 

* The  party  consisted  of  Meridelssotin  and  his  brother,  and  thei? 
wives. 


262 


Mendelssohn’s  letters. 


pleases  me  most  exceedingly.  I am  writing  fine  novel- 
ties, dear  Mother ! Forgive  me,  for  I have  nothing 
better  to  say ; besides,  I know  that  Paul  wrote  to  you 
at  full  length  a few  days  ago.  When  we  meet,  I shall 
have  a tale  to  tell  that  will  know  no  end.  I wish  I 
only  knew  whether  I am  to  remain  in  Berlin  perma- 
nently, or  merely  for  a few  weeks.  How  gladly  would 
I write  to  you  that  it  was  to  be  the  former ! but  the 
whole  affair  has  taken  so  many  strange  twists  and  turns 
of  late,  that  I feel  quite  astray  and  bewildered  when  I 
try  to  think  what  is  to  be  done.  On  my  return  it  will 
all  come  right,  no  doubt.  Do  not  be  displeased  with 
me,  I entreat,  on  account  of  this  prolonged  uncertainty  j 
it  is  no  fault  of  mine. — ^Ever  your 

. Felix, 


To  HIS  Mother. 

Zurich,  September  3(1, 1842. 

Dear  Mother, 

I am  not  so  hard-hearted  a correspondent  as  to  rest 
satisfied  with  only  writing  to  you  once  from  Switzer- 
land. Indeed,  our  Swiss  expedition  is  drawing  nearly 
to  a close  for  the  present.  There  are  few  more  herds- 
men’s huts  to  be  seen ; neither  glaciers,  nor  anything 
of  the  kind ; rocks,  and  so  forth,  just  as  httle ; but  we 
still  have  the  greenish-blue  lake,  and  the  clean  houses, 
and  the  bright  gardens,  and  a chain  of  mountains,  such 
as  could  only  stand  on  the  confines  of  a land  like  this. 
So  my  greetings  to  you  all  once  more  from  Switzer- 
land I How  beautiful  all  has  been,  and  most  thorough- 


SWITZERLAND, 


263 


ly  have  we  enjoyed  it ! A gay  mood,  perfect  health, 
and  clear  weather,  combined  to  impress  all  the  marvels 
indehbly  on  our  souls.  We  were  obliged  to  give  up 
the  expeditions  we  had  planned  the  last  few  days, 
owing  to  the  rain,  and  mists,  and  unfavourable 
weather ; unfortunately  the  Righi  was  among  the 
number,  and  the  Schaffhausen  Rheinfall,  neither  of 
which  is  there  any  chance  of  our  seeing,  for  the 
weather  continues  cloudy,  and  the  air  very  cold  and 
comfortless  for  a journey.  But,  with  these  two  excep- 
tions, we  have  seen  everything  in  as  great  beauty  as 
we  could  have  wished  or  expected ; and  I am  particu- 
larly delighted  that,  on  the  last  fine  forenoon,  I accom- 
phshed  my  expedition  over  the  Surene  (‘^Durch  der 
Surener  furchtbar  Eisgebirg,”  vide  William  Tell”).  On 
the  same  afternoon  it  began  to  rain  in  Engelberg,  and 
next  day  I was  obliged  to  tramp  through  the  whole  of 
the  Unterwalden  under  an  umbrella,  nor  has  it  ever 
been  fair  since.  I sought  out  my  former  guide,  and  we 
mutually  recognized  each  other,  to  our  great  joy.*  He 
is  now  the  landlord  of  the  Crown  ” in  Meiringen. 
Dearest  Mother,  recommend  the  man  and  his  house  to 
all  your  correspondents.  I am  quite  determined  to 
write  to  London  and  ask  Murray  to  praise  the  “ Crown  ” 
in  Meiringen,  in  his  next  red  Gruide-book  to  Switzer- 
land ; he  can  do  so  with  a clear  conscience.  Michael 
has  a good  house,  an  extremely  pretty  wife,  and  five 
fine  children,  for  whom  I bought  a few  little  trifles  and 
gome  toy  soldiers  in  Untersee,  and  thus  we  had  a happy 
meeting  after  the  lapse  of  eleven  years.  He  brought 
me  the  words  of  the  song  in  Gr  major  he  sang  at  that 


♦ See  Mendelssolin’s  Letters  in  1831. 


264 


MENDELSSOHN  9 LETTERS. 


time,  the  melody  of  which  I had  retained,  but  always 
plagued  myself  in  vain  about  the  verses.  When  I told 
him  that  we  wished  to  go  to  the  Grimsel,  he  got  very 
red,  and  said,  “ Then  I must  go  too — I must  go.”  He 
intrusted  the  public  room  (which  is  his  department)  to 
the  care  of  a friend,  and  was  ready  next  morning  with 
his  mountain  staff  and  blouse,  and  led  the  horses  past 
some  awkward  places,  and  the  ladies  past  the  most 
dangerous  ones,  and  us  too,  when  it  was  possible  to  cut 
off  the  distance  by  footpaths ; and  the  people  in  Glut- 
tann  laughed  at  seeing  him  again.  “ It  is  only  for  a lit- 
tle while,”  said  he ; and  a man  who  was  making  hay 
called  out  to  him,  “ Oho,  Michael,  so  you  can’t  give  up 
being  a guide  yet  ?”  He  confided  to  me,  that  it  did 
sometimes  seem  hard  to  be  obliged  to  do  so,  and  if  he 
did  not  think  of  his  wife  and  children,  who  knows  what 
might  happen?  We  separated  on  the  Grimsel.  This 
was  a pleasant  episode.  I have  sketched  a great  deal, 
and  taken  much  trouble,  but  more  than  a mere  scrawl 
cannot  be  accomplished  here.  Still,  it  may  serve  as  a 
kind  of  diary,  and  as  such  I feel  an  attachment  to  all 
the  old  leaves  in  my  book,  and  to  the  present  on 
also. 

Kiicken  has  just  been  with  me ; he  is  going  to  Paris, 
having  composed  an  opera,  which  he  is  anxious  to  have 
performed  first  in  Berlin ; he  got  the  libretto  from  a 
man  in  Vienna.  The  Faulhorn,  Meyerbeer,  Eungenha- 
gen,  the  Briinig,  the  Lungernsee,  Donizetti,  and  the 
drivers,  enlivened  the  conversation  by  turns, — ^not  for- 
getting the  Conservatorium  in  Berlin,  and  the  Grimsel 
and  Furka  in  the  snow.  But  what  kind  of  letter  is 
this?  Paul  is  resolved  to  see  Zurich,  so  I must  con- 


HECOMMENDATION  OF  A FRIEND. 


265 


elude.  I feel  as  if  you  must  be  provoked  at  my  chit- 
chat, all  about  nothing.  Well,  then,  we  are  all  per- 
fectly hale  and  hearty,  and  love  you  very  dearly,  and 
think  of  you  always  and  everywhere,  and  send  you  a 
thousand  greetings,  and  hope  for  a joyful  meetings 
Such  is,  after  all,  the  chief  substance  of  eAmry  letter  we 
long  for,  and  so  it  is  of  this  one  also.  Au  revoir^ 
dearest  Mother. — Ever  your 

Eelix. 


To  A.  SiMRocK,  Bonn. 

Frankfort,  September  21st,  1842. 

Dear  Herr  Simrock, 

I write  to  you  to-day  on  a particular  subject,  relying 
on  your  most  entire  discretion  and  perfect  secrecy ; but 
I know  too  well  from  experience  your  kindly  feeling 
towards  myself,  to  doubt  the  fulfilment  of  my  wish, 
and  in  full  confidence  in  your  silence  I shall  now  come 
to  the  point.  During  my  stay  here  I heard  by  chance 

that  my  friend  and  colleague  in  art,  Herr  X , had 

written  to  you  about  the  publication  of  some  new 
works,  but  hitherto  had  received  no  answer.  How, 
both  in  the  interest  of  art,  as  well  as  in  that  of  my 
friend,  I should  indeed  be  very  glad  if  the  answer  were 
to  prove  favourable ; and,  as  I flatter  myself  that  you 
place  some  value  on  my  opinion  and  my  wish,  it  oc- 
curred to  me  to  write  to  you  myself  on  the  subject,  and 
to  beg  of  you,  if  you  possibly  can,  to  make  some  of 
my  friend’s  works  known  to  the  G-erman  public.  My 
wi«sh  for  the  secrecy  which  I beg  you  to  observe  to^ 
23 


266 


Mendelssohn’s  letters. 


wards  every  one  and  under  all  circumstances^  is  owing  to 

this : that  I feel  certain  Herr  X would  be  frantic 

if  he  had  the  most  remote  idea  that  I had  taken  such  a 
step  on  his  behalf.  I know  that  nothing  would  be 
more  intolerable  to  him  than  not  to  stand  absolutely  on 
his  own  ground,  and  therefore  he  never  must  know  of 
this  letter;  but,  on  the  other  hand,  it  is  the  positive 
duty  of  one  artist  towards  another  to  assist  as  much  as 
possible  in  overcoming  diflS.culties  and  annoyances, 
when  such  efforts  are  noble  and  in  a good  cause,  and 
both  of  these  are  so  to  the  highest  degree  in  this  case. 
I therefore  beg  you  to  publish  some  of  his  compositions, 
and,  above  all,  if  possible,  to  enter  into  a more  per- 
manent connection  with  him.  I am  well  aware  that 
the  German  publishers  have  not  hitherto  had  any  very 
brilliant  success  (as  it  is  called)  with  the  works  he  has 
written,  and  whether  this  may  be  otherwise  in  future 
I cannot  pretend  to  say  ; but  that  they  well  deserve  to 
succeed,  is  a point  on  which  I have  no  doubt ; and  on 
that  account,  and  solely  on  that  account,  I now  make 
my  request.  Were  it  not  so,  however  great  a friend 
he  might  be  of  mine,  I would  not  do  this.  In  fact,  the 
only  consideration  which  ought  to  have  any  influence 
is  the  intrinsic  value  of  a work, — that  being  the  only 
thing  which  would  inevitably  insure  success,  if  there 
were  any  honesty  in  the  world.  It  is  too  provoking  to 
hear  the  oft-told  tale  of  clever,  meritorious  artists,  who, 
at  the  beginning  of  their  career,  are  in  such  a state  of 
anxious  solicitude  that  their  works  should  be  purchased 
and  made  known,  and  when  one  of  these  chances  to 
make  a good  hit,  and  gains  great  applause  and  becomes 
vastly  popular,  still  this  success  does  not  cause  him 


RECOMMENDATION  OF  A FRIEND.  267 

satisfaction  equal  to  all  his  previous  anxiety  and  vexa- 
tion ; for  this  very  reason  I should  like  you  to  act 
differently,  and  to  place  more  value  on  true  worth  than 
on  any  chance  result.  This  system,  in  fact,  must  soon 
be  abolished,  and  in  such  a case  the  only  question  is, 
how  soon  ? and  after  how  many  more  annoyances  ? and 
this  is  just  the  point  where  a publisher  can  be  useful 
and  valuable  to  an  artist.  When  universal  popularity 
ensues,  they  are  all  ready  enough  to  come  forward,  but 
I think  you  are  the  very  man  to  act  differently,  not 
losing  sight  of  the  ideal,  but  also  doing  what  is  prac- 
tical and  right.  Forgive  the  liberty  I have  taken,  and, 
if  possible,  comply  with  my  wish.  So  far  as  I have 
heard,  there  is  no  pretension  to  any  considerable  sum 
for  these  works,  but  a very  strong  desire  that  they  may 
be  generally  circulated  and  made  known,  and  that  the 
correspondence  should  be  carried  on  in  a friendly  artistic 
spirit.  If  you  will  or  can  enter  into  the  affair,  I rely 
on  your  sacred  silence  as  to  my  interference,  my  name, 
or  my  request.  If  I shortly  hear  from  my  friend  that 
you  have  written  to  him  in  a kind  manner,  and  have 
agreed  to  assist  him  in  making  the  public  familiar  with 
his  songs  and  pianoforte  works,  how  heartily  shall  I 
then  rejoice!  Perhaps  you  will  say,  what  does  this 
lazy  composer,  and  still  more  lazy  correspondent,  mean  ? 
But  I have  improved  in  the  latter  respect,  as  the  figura 
proves;  and  with  regard  to  the  former,  I mean  to  set 
to  work  shortly,  and  to  overwhelm  you  with  music- 
paper  (as  soon  as  it  is  well  filled),  and  to  request  in  my 
own  name  what  I now  so  urgently  and  anxiously  en- 
treat in  that  of  my  friend. — Ever  yours,  with  esteem 
Felix  Mendelssohn  Bartholdy. 


268 


Mendelssohn’s  letters. 


To  A.  SiMRocK,  Bonn. 

Berlin,  October  10th,  1842. 

Sir, 

If  I ever  was  agreeably  surprised  by  any  letter,  it 
was  by  yours,  which  I received  here  yesterday.  Your 
kind  and  immediate  compliance  with  my  request,  and 
also  the  very  handsome  present  you  make  me  for  my 
Songs  without  Words,”  render  it  really  difficult  for  me 
to  know  how  to  thank  you,  and  to  express  the  great 
pleasure  you  have  conferred  on  me;  I must  confess 
that  I had  not  expected  such  ready  courtesy,  and  satis- 
factory comphance  with  my  letter  of  solicitation.  I 
now  doubly  rejoice  in  having  taken  a step  which  a feel- 
ing of  false  shame,  and  that  odious  worldly  maxim, 
Don’t  interfere  in  the  affairs  of  others,”  which  occur- 
red to  me  while  writing,  nearly  deterred  me  from  car- 
rying out.  Your  conduct,  as  displayed  in  your  letter 
of  yesterday,  has  confirmed  me  more  than  ever  in  what 
I esteem  to  be  good  and  right ; so  I intend  to  lay  aside 
for  ever  the  (so-called)  highly-prized  worldly  wisdom, 
and  henceforth  to  pursue  a straightforward  course 
according  to  my  own  first  impulse  and  feeling;  if  it 
fails  a hundred  times,  still  one  such  /success  is  ample 
compensation.  What  artist,  too,  would  not,  at  the 
same  time,  be  highly  delighted  by  the  kind  manner  in 
which  you  allude  to  my  compositions,  and  evince  your 
approbation?  Who  would  not  prize  and  esteem  this 
beyond  all  other  recognition  ? I ought  especially  to 
feel  thus,  and,  by  hereafter  producing  better  works, 
strive  to  deserve  the  good  and  friendly  feeling  shown 
to  me  for  my  present  ones.  I hope  one  day,  in  some 


SONGS  WITHOUT  WORDS. 


269 


degree  at  least,  to  succeed  in  doing  so ; and  if  not,  you 
will  at  all  events  know  that  neither  good  will  nor 
earnest  efforts  were  wanting.  So  I thank  you  for  the 
fulfilment  of  my  request,  I thank  you  for  the  flattering 
and  handsome  present,  and,  above  all,  I thank  you  for 
your  kindly  sentiments  about  myself  and  my  music, 
both  of  which  are  so  much  indebted  to  you,  and  which 
will  filU  me  with  gratitude  and  pleasure  so  long  as  1 
live  — I am,  with  esteem,  your 

Felix  Mendelssohn  Bartholdy. 


To  Marc-Andre  Souchay,  Lubeck.* 

Berlin,  October  loth,  1842. 

. . . There  is  so  much  talk  about  music,  and  yet  so 
little  really  said.  For  my  part  I believe  that  words  do 
not  suffice  for  such  a purpose,  and  if  I found  they 
did  suffice,  then  I certainly  would  have  nothing  more 
to  do  with  music.  People  often  complain  that  music 
is  ambiguous,  that  their  ideas  on  the  subject  always 
seem  so  vague,  whereas  every  one  understands  words ; 
with  me  it  is  exactly  the  reverse, — not  merely  with 
regard  to  entire  sentences,  but  also  as  to  individual 
words ; these,  too,  seem  to  me  so  ambiguous,  so  vague, 
so  unintelligible  when  compared  with  genuine  music, 
which  fills  the  soul  with  a thousand  things  better  than 
words.  What  the  music  I love  expresses  to  me,  is  not 
thought  too  indejiaite  to  be  put  into  words,  but,  on  the 

* Herr  Souchay  had  asked  Mendelssohn  the  meanings  of  some  of  his 
“ Songs  without  Words.” 


270 


Mendelssohn’s  letters. 


contrary,  too  definite.  I therefore  consider  every  effort 
to  express  such  thoughts  commendable  ; but  still  there 
is  something  unsatisfactory  too  in  them  all,  and  so  it  is 
with  yours  also.  This,  however,  is  not  your  fault,  but 
that  of  the  poetry,  which  does  not  enable  you  to  do 
better.  If  you  ask  me  what  my  idea  is,  I say — ;just  the 
song  as  it  stands  ; and  if  I have  in  my  mind  a definite 
term  or  terms  with  regard  to  one  or  more  of  these 
songs,  I will  disclose  them  to  no  one,  because  the  words 
of  one  person  assume  a totally  different  meaning  in  the 
mind  of  another  person,  because  the  music  of  the  song 
alone  can  awaken  the  same  ideas  and  the  same  feelings 
in  one  mind  as  in  another, — a feeling  which  is  not, 
however,  expressed  by  the  same  words.*  Kesignation, 
melancholy,  the  praise  of  God,  a hunting-song, — one 
person  does  not  form  the  same  conception  from  these 
that  another  does.  Eesignation  is  to  the  one  what 
melancholy  is  to  the  other ; the  third  can  form  no  lively 
idea  of  either.  To  any  man  who  is  by  nature  a very 
keen  sportsman,  a hunting-song  and  the  praise  of  God 
would  come  pretty  much  to  the  same  thing,  and  to  such 
a one  the  sound  of  the  hunting-horn  would  really  and 
truly  be  the  praise  of  God,  while  we  hear  nothing  in  it 
but  a mere  hunting-song ; and  if  we  were  to  discuss  it 
ever  so  often  with  him,  we  should  get  no  further. 
Words  have  many  meanings,  and  yet  music  we  could 
both  understand  correctly.  Will  you  allow  this  to 
serve  as  an  answer  to  your  question  ? At  all  events,  it 


* Goethe  also  says,  in  the  fourth  part  of  “ Dichtung  und  Wahrheit,” 
“ I have  already  hut  too  plainly  seen  that  no  one  person  understands 
another  ; that  no  one  receives  the  same  impression  as  another  from  the 
very  same  words.” 


DIRECTORSHIP  OF  CHURCH  MUSIC.  271 

is  the  only  one  I can  give, — altlioiigli  these  too  are 
nothing,  after  all,  but  ambiguous  words  I 


To  WiRKLICH  GrEHEIMRATH  HeRR  VON  MaSSOW. 

Berlin,  October  23d,  1842. 

Your  Excellency, 

Permit  me  respectfully  to  ask  whether  you  will  be 
so  good  as  to  assist  in  procuring  me  an  audience  of  his 
Majesty,  to  place  before  him  my  present  position  here, 
and  my  wishes  with  regard  to  it. 

Your  Excellency  is  aware  that  I am  not  so  situated 
as  to  be  able  to  accept  the  proposal  of  Herr  Eichhorn 
to  place  myself  at  the  head  of  the  whole  of  the  Evange- 
lical Church  music  here.  As  I already  told  the  Minis- 
ter (and  your  Excellency  quite  agreed  to  this  in  our 
last  conversation),  such  a situation,  if  considered  practi- 
callpj  must  either  consist  of  a general  superintendence 
of  all  the  present  organists,  choristers,  schoolmasters, 
etc.,  or  of  the  improvement  and  practice  of  the  singing 
choirs  in  one  or  more  cathedrals.  Neither  of  these, 
however,  is  the  kind  of  work  which  I particularly 
desire.  Moreover,  the  first  of  these  functions  is  super- 
fluous if  such  places  are  properly  filled  ; and  the  second, 
to  be  really  effectually  carried  out,  demands  more  vast 
and  comprehensive  regulations  and  greater  pecuniary 
resources  than  could  be  obtained  at  this  moment. 

With  regard  to  the  other  plans  which  were  proposed, 
partly  for  the  reorganization  of  the  present  Institute, 
and  partly  for  the  establishment  of  a new  one,  diflicul* 


272 


MENDELSSOHN  S LETTERS. 


ties  have  arisen  which  render  the  establishment  of 
these  plans  void ; and  thus  the  case  now  occurs  which 
your  Excellency  may  remember  I always  anticipated, 
much  to  my  regret,  at  the  very  beginning  of  our  corre- 
spondence in  December,  1840, — there  is  no  opportunity 
on  my  side  for  a practical,  influential,  musical  efficiency 
in  Berlin. 

Herr  Eichhorn  declared  that  this  would  be  altered  in 
the  course  of  time, — that  everything  was  being  done 
in  order  to  bring  about  a different  state  of  things ; and 
he  requested  me  to  wait  with  patience  till  the  building 
was  completed  which  it  was  proposed  to  erect. 

I think,  on  the  contrary,  that  it  would  not  be  re- 
sponding properly  on  my  part  to  the  confidence  the 
King  has  placed  in  me,  if  I were  not  at  once  to  employ 
my  energies  in  fulfilling  what  your  Excellency  at  that 
time  told  me,  in  the  name  of  the  King,  were  his  de- 
signs; if,  instead  of  at  least  making  the  attempt  to 
animate  and  ennoble  my  art  in  this  country  (as  your 
Excellency  was  pleased  to  say),  I were  to  continue  to 
work  for  myself  personally ; if  I were  to  wait  instead 
of  to  act.  The  very  depth  of  my  gratitude  for  such 
flattering  confidence  constrains  me  to  say  all  this  can- 
didly to  his  Majesty, — to  state  that  circumstances,  over 
which  I have  no  control,  now  render  the  fulfilment  of 
his  commands  impossible. 

My  wish  is  that  his  Majesty  would  permit  me  in  the 
mean  time  to  reside  and  to  work  and  to  await  his  com- 
mands in  some  other  place,  where  I could  for  the  mo- 
ment be  useful  and  efficient.  As  soon  as  the  building 
is  finished  of  which  Herr  Eichhorn  spoke,  or  so  soon 
as  the  King  required  any  service  from,  me,  I should 


LETTER  TO  THE  KING  OF  PRUSSIA.  273 

consider  it  a great  happiness  to  hasten  back  and  to  ex- 
ert my  best  energies  for  such  a Sovereign,  whose  man- 
dates are  in  themselves  the  highest  rewards  for  an  artist. 

I would  fain  have  written  this  to  the  King  sooner, 
but  when  I reflected  that  my  communication  would  only 
meet  his  Majesty’s  eye  among  a vast  number  of  others, 
I thought  I could  express  my  views  and  feelings  of 
most  sincere  gratitude  more  plainly  and  better  verbally, 
even  if  only  by  a few  words ; and  that  your  Excellency 
may  be  so  obhging  as  to  promote  my  wish  is  my  pre- 
sent request,  and  the  object  of  this  letter. — I am,  your 
Excellency’s  most  devoted 

Felix  M.  B. 


To  His  Majesty  the  King  of  Prussia.* 

Berlin,  October  28th,  1842. 

Four  Majesty, 

In  the  memorable  words  your  Majesty  was  pleased 
to  address  to  me,  you  mentioned  that  it  was  intended 
to  add  a certain  number  of  able  singers  to  the  existing 
Eoyal  Church  choirs,  to  form  a nucleus  for  these  choirs, 
as  well  as  for  any  amateurs  of  singing  who  might  sub- 
sequently wish.to  join  them,  serving  as  a rallying-point 
and  example,  and  in  this  manner  gradually  to  elevate 
and  to  ennoble  church  music,  and  to  insure  its  greater 
development. 

Also,  in  order  to  support  the  singing  of  the  congre- 
gation by  instruments,  which  produce  the  most  solemn 
and  noble  effects, — as  your  Majesty  may  remember, 


♦ The  following  letter  contains  the  result  of  the  audience  requested. 


274 


MEf^DELSSOHN’s  LETTERS. 


during  the  celebration  of  the  Jubilee  in  the  Mcolai 
Church, — it  is  proposed  that  a small  number  of  instru- 
mentalists (probably  selected  from  the  members  of  the 
Eoyal  Orchestra)  should  be  engaged,  who  are  also  in- 
tended to  form  the  basis  for  subsequent  grand  perform- 
ances of  oratorios,  etc. 

The  direction  of  a musical  choir  of  this  instructive 
nature,  a genuine  Eoyal  Orchestra,  your  Majesty  ex- 
pressed your  intention  to  intrust  to  me,  but,  till  its 
formation,  to  grant  me  entire  freedom  of  choice  with 
regard  to  my  place  of  residence. 

The  execution  of  this  plan  will  fulfil  to  the  utmost 
all  my  wishes  as  to  pubhc  musical  efficiency ; I can 
never  cease  to  be  grateful  to  your  Majesty  for  it,  and  I 
do  not  doubt  that  the  organization  of  such  an  institution 
could  be  effected  here  without  any  serious  difficulties. 

But  I would  request  your  Majesty  not  to  devolve 
this  organization  on  me  personally,  but  merely  to  per- 
mit me  to  co-operate  with  my  opinion  and  advice, 
which  I shall  always  be  gladly  prepared  to  give.  Until, 
however,  to  use  your  Majesty’s  own  expression,  the 
instrument  is  ready  on  which  I am  hereafter  to  play,  I 
wish  to  make  use  of  the  freedom  of  action  so  graciously 
accorded  me,  and  shortly  to  return  to  Leipzig,  for  the 
direction  of  the  Town  Hall  concerts.  The  orders  which 
your  Majesty  was  pleased  to  give  me,  I shall  there  with 
the  utmost  zeal  and  to  the  best  of  my  abilities  carry 
into  execution ; at  the  same  time  I entreat  your  Ma- 
jesty, as  I am  engaged  in  no  public  sphere  of  action 
here  till  the  organization  of  the  Institute,  and  am  till 
then  to  enjoy  entire  liberty,  to  be  allowed  to  give  up 
one-half  of  the  salary  previously  granted  to  me,  so  long 


THE  PROPOSED  BERLIN  ACADEMY.  275 

as  I take  advantage  of  this  entire  freedom  from 
work. 

In  repeating  my  heartfelt  thanks  for  all  the  favours 
which  your  Majesty  has  so  liberally  bestowed  on  me, 
I am,  till  death,  your  Majesty’s  devoted  servant, 

Felix  Mendelssohn  Bartholdy. 


To  Carl  Klingemann,  London. 

Leipzig,  November  23d,  1842. 

We  are  now  again  settled  in  Leipzig,  and  fairly  esta- 
blished here  for  this  winter  and  till  late  in  th^spring. 
The  old  locahties  where  we  passed  so  many  happy  days 
so  pleasantly  are  now  rearranged  with  all  possible  com-' 
fort,  and  we  can  live  here  in  great  comfort.  I could  no 
longer  endure  the  state  of  suspense  in  Berlin;  there 
was  in  fact  nothing  certain  there,  but  that  I was  to 
receive  a certain  sum  of  money,  and  that  alone  should 
not  suffice  for  the  vocation  of  a musician ; at  least  I felt 
more  oppressed  by  it  from  day  to  day,  and  I requested 
either  to  be  told  plainly  I should  do  nothing  (with  which 
I should  have  been  quite  contented,  for  then  I could 
have  worked  with  an  easy  mind  at  whatever  I chose), 
or  be  told  plainly  what  I was  to  do.  As  I was 
again  assured  that  the  results  would  certainly  insure 
my  having  employment,  I wrote  to  Herr  von  Massow 
begging  him  to  procure  me  an  audience  of  the  King, 
that  I might  thank  him  verbally,  and  endeavour  to  ob- 
tain my  dismissal  on  such  and  such  grounds,  requesting 
turn  to  communicate  the  contents  of  this  letter  to  his 


276 


Mendelssohn’s  letters. 


Majesty;  this  he  did,  and  appointed  a day  for  the 
audience,  at  the  same  time  saying  that  the  affair  was 
now  at  an  end,  the  King  very  much  displeased  with 
me,  and  that  it  was  his  intention  to  take  leave  of  me  in 
very  few  words.  He  had  made  me  some  proposals  in 
the  name  of  the  King  to  which  I could  not  altogether 
agree,  and  with  which  I do  not  now  detain  you,  as 
they  led  to  nothing,  and  could  lead  to  nothing.  So  I 
was  quite  prepared  to  take  my  leave  of  Berlin  in  very 
bad  odour,  however  painful  this  might  be  to  me.  I 
was  at  length  obliged  also  to  speak  to  my  mother  on 
the  subject,  and  to  break  to  her  that  in  the  course  of 
eight  days  I must  return  to  Leipzig ; I could  not  have 
beheved  that  this  would  have  affected  her  so  terribly  as 
it  actftblly  did.  You  know  how  calm  my  mother 
usually  is,  and  how  seldom  she  allows  any  one  to  have 
a glimpse  of  the  feelings  of  her  heart ; and  therefore  it 
was  doubly  and  trebly  painful  to  me  to  cause  her  such 
a pang  of  sorrow,  and  yet  I could  not  act  otherwise ; 
so  next  day  I went  to  the  King  with  Massow, — the 
most  zealous  friend  I have  in  Berlin — and  who  first 
took  a final  leave  of  me  in  his  own  house.  The  King 
must  have  been  in  an  especial  good  humour,  for,  instead 
of  finding  him  angry  with  me,  I never  saw  him  so 
amiable  and  so  really  confidential.  To  my  farewell 
speech  he  replied : he  could  not  indeed  compel  me  to 
remain,  but  he  did  not  hesitate  to  say  that  it  would 
cause  him  heartfelt  regret  if  I left  him ; that,  by  doing 
so,  all  the  plans  which  he  had  formed  from  my  presence 
in  Berlin  would  be  frustrated,  and  that  I should  leave  a 
void  which  he  could  never  fill  up.  As  I did  not  admit 
this,  he  said  if  I would  name  any  one  capable  of  carry- 


INTERVIEW  WITH  THE  KING. 


277 


ing  such  and  such  plans  into  execution  as  well  as  ke 
believed  I could  do,  then  he  would  intrust  them  to  the 
person  I selected,  but  he  felt  sure  I should  be  unable  to 
name  one  whom  he  could  approve  of.  The  following 
are  the  plans  which  he  detailed  at  full  length ; first  of 
all,  to  form  a kind  of  real  capelle^  that  is,  a select  choir 
of  about  thirty  very  first-rate  singers,  and  a small 
orchestra  (to  consist  of  the  elite  of  the  theatrical  orches- 
tra) ; their  duties  to  consist  in  church  music  on  Sun- 
days and  at  festivals,  and,  besides  this,  in  performing 
oratorios  and  so  forth ; that  I was  to  direct  these,  and 
compose  music  for  them,  etc.  etc.  ‘‘Certainly,”  said 
T,  “if  there  were  any  chance  of  such  a thing  here,  if 
this  were  only  accomphshed it  was  the  very  point 
at  issue  on  which  I had  so  much  insisted.  On  which 
he  replied,  again,  that  he  knew  perfectly  well  I must 
have  an  instrument  to  make  music  on,  and  that  it 
should  be  Ms  care  to  procure  such  an  instrument  of 
singers  and  players ; but  when  he  had  procured  it,  he 
must  know  that  I was  prepared  to  play  on  it ; till  then 
I might  do  as  I liked,  return  to  Leipzig,  or  go  to  Italy, 
— in  short,  be  entirely  unfettered;  but  he  must  have 
the  certainty  that  he  might  depend  on  me  when  he 
required  me,  and  this  could  only  be  acquired  by  my 
remaining  in  his  service.  Such  was  at  least  the  essen- 
tial substance  of  the  whole  long  conversation  ; we  then 
separated.  He  said  I was  not  to  give  him  my  decision 
immediately^  because  all  difficulties  could  not  be  for  the 
moment  entirely  obviated ; I was  to  take  time  to  con- 
sider, and  to  send  my  answer  to  Massow,  who  was  pre- 
sent during  the  whole  of  this  conversation  of  an  hour 
and  a quarter.  He  was  quite  flushed  with  excitement 
21 


278 


MENDELSSOHN  S LETTERS. 


when  we  left  the  room,  repeating  over  and  over  again, 
Surely  you  can  never  now  think  of  going  away  !’* 
and,  to  tell  you  the  truth,  I thought  more  of  my  dear 
mother  than  of  all  the  rest.  In  short,  two  days  after- 
wards I wrote  to  the  King,  and  said  that  after  his 
Avords  to  me  I could  no  longer  think  of  leaving  his  ser- 
vice, but  that,  on  the  contrary,  my  best  abilities  should 
be  at  his  command  so  long  as  I lived.  He  bad  men- 
tioned so  and  so  (and  I repeated  the  substance  of  our 
conversation),  that  I would  take  advantage  of  the 
liberty  he  had  granted  me,  and  remain  in  Leipzig  until 
I was  appointed  to  some  definite  sphere  of  work ; on 
which  account  I begged  to  relinquish  one-half  of  my 
salary,  so  long  as  I Avas  not  really  engaged  in  active 
work.  This  proposal  he  accepted,  and  I am  now  here 
again  with  my  wife  and  child.  I have  been  obliged 
definitively  to  decline  the  ofiers  of  the  King  of  Saxony  ; 
but,  in  order  to  do  so  in  the  most  respectful  manner,  I 
went  to  Dresden  a few  days  after  my  return  here, 
thanked  the  King  once  more  verbally,  and  entreated 
him  not  the  less  to  bestow  the  twenty  thousand  thalers 
(which  an  old  Leipziger  bequeathed  in  his  will  to  the 
King  for  the  establishment  of  an  Academy  of  Art)  to 
found  a school  for  music  in  Leipzig,  to  which  he  gra- 
ciously acceded.  The  official  announcement  came  the 
day  before  yesterday.  This  music  school  is  to  be 
organized  next  winter,  at  least  in  its  chief  features; 
when  it  is  established,  I may  well  say  that  I have  been 
the  means  of  procuring  a permanent  advantage  for  music 
here.  If  they  begin  anything  solid  in  Berlin,  I can 
settle  there  with  a clear  conscience  ; if  they  allow  the 
matter  to  stand  over,  it  is  probable  that  I may  go  on 


A SWISS  GUIDE. 


279 


with  my  half-salary  and  my  situation  here  for  more 
than  a year,  and  my  duties  be  confined,  as  now,  to 
executing  particular  commands  of  the  King : for  in- 
stance, I am  to  supply  him  with  music  for  the  “ Mid- 
summer Night’s  Dream,”  the  “ Tempest,”  and  “ (Edi- 
pus  Coloneus.” 

Such,  then,  is  the  desired  conclusion  of  this  long, 
long  transaction.  Forgive  all  these  details ; but  I wished 
to  inform  you  minutely  of  every  particular. 

A request  occurs  to  me  which  I long  ago  intended  to 
have  made  to  you.  In  Switzerland  I saw  my  former 
guide,  Michael,  whom  on  my  previous  mountain-ex- 
peditions I always  found  to  be  an  excellent,  honest, 
obhging  fellow,  and  on  this  occasion  I met  with  him 
again,  married  to  a charming  pretty  woman ; he  has 
children,  and  is  no  longer  a guide,  but  established  as 
landlord  of  the  Krone.”  During  our  first  visit  to 
Meiringen  this  summer,  we  lived  at  the  Hbtel  de  Eei- 
chenbach,  but  the  second  time  we  were  at  the  ‘‘Krone,” 
and  quite  delighted  with  the  cleanliness  and  neatness, 
and  the  civil  behaviour  of  all  the  people  in  the  house. 
It  is  a most  genuine  Swiss  village  inn,  taken  in  its  best 
sense.  Now,  Michael’s  greatest  wish  is  to  be  named 
among  the  inns  at  Meiringen  in  the  new  edition  of 
Murray’s  “ Switzerland,”  and  I promised  to  endeavour 
to  effect  this  for  him.*  Is  it  in  your  power  to  get  this 
done?  The  first  inn  there  is  the  “Wilde  Mann,”  the 
second  the  “ Eeichenbach,”  and  the  third  undoubtedly 
the  “ Krone ; ” and  if  Murray  recommends  it  as  such,  I 
am  convinced  it  will  do  him  credit.  He  might  also 
mention  that  it  is  most  beautifully  situated,  with  a fuD 


8ee  Letter  to  his  Mother  of  the  3d  of  September,  1842. 


280 


Mendelssohn’s  letters. 


view  of  the  Engelhorn,  and  the  glacier  of  the  Eosenlaui, 
Michael  said  that  the  editor  of  tlie  Handbook  had  been 
there,  and  very  much  feU  by  the  other  landlords ; his 
means  did  not  admit  of  this,  still  he  would  give  him  a 
good  round  sum  of  money  if  he  would  only  mention 
him.  I was  indignant,  and  said,  “ Without  money ^ or 
not  at  ally  But  I thought  of  many  musical  newspapers 
and  composers,  so  I did  not  lecture  him  much  on  the 
subject,  from  the  fear  that  he  might  one  day  hear  some- 
thing of  the  same  sort  from  one  of  my  colleagues,  and 
take  his  revenge.  There  is  now  a general  complaint, 
that  the  large  town  hotels  have  superseded  the  smaller 
comfortable  genuine  Swiss  inns ; this  is  one  of  the 
latter  sort.  Murray  must  really  recommend  it.  Pray, 
do  what  you  can  about  this,  and  tell  me  if  you  succeed. 
Forgive  my  troubling  you,  the  secretary  to  an  embassy, 
with  such  things,  but  if  you  knew  Michael  you  w'ould 
like  him,  I know.  I would  fain  draw  a great  deal  now, 
and  gladly  devote  myself  to  all  manner  of  allotria^  in- 
cluding composition ; but  I see  lying  before  me  an 
enormous  thick  packet  of  proofs  of  my  A minor  sym- 
phony, and  the  ‘^Antigone,”  which  must  absorb  all  my 
leisure  time ; and  then  the  frightful  heap  of  letters ! 

My  dearest  friend,  may  these  lines  find  you  in  good 
health,  and  in  a happy  frame  pf  mind ; may  you  think 
of  me,  as  I shall  of  you,  so  long  as  life  lasts ; and  may 
you  also  soon  be  able  to  tell  me  yourself  that  it  is  st>, 
and  again  rejoice  your  true  friends  by  your  piesence, 
for  Cecile  writes  this  letter  from  first  to  last  along  with 
me,  and  knows  all  I have  said,  and  is,  like-  myself,  for 
ever  and  ever  your  friend. 


F.  M.  B. 


NUMEROUS  OCCUPATIONS 


283 


To  HIS  Mother. 

Leipzig,  November  28th,  1842. 

Dearest  Mother, 

As  pen  and  paper  must  again  serve  instead  of  our 
usual  evening  hour  for  tea,  I begin  by  making  a sug- 
gestion, which  is,  whether  you  would  like  me  to  write 
to  you  regularly  every  Saturday  (perhaps  only  a few 
words,  but  of  this  hereafter),  and  that  one  of  the  family, 
as  often  as  you  cannot  or  will  not  write,  should  under- 
take to  send  me  a punctual  reply.  In  addition  to  the 
joy  of  knowing  beforehand  the  day  when  I am  to  hear 
of  you,  it  is  in  some  degree  indispensable  to  insure  my 
writing  to  you,  for  time  must  be  found  for  a weekly 
letter;  while,  were  this  not  the  case,  I should  be 
ashamed  to  send  you  only  a few  lines,  should  it  happen 
that  I could  not  accomplish  more.  You  can  have  no 
idea  of  the  mass  of  affairs — musical,  practical,  and  so- 
cial— that  have  accumulated  on  the  table  in  my  study 
since  my  return  here.  The  weekly  concerts ; the  extra 
ones ; the  money  the  King  has  at  length  bestowed  at 
my  request  on  the  Leipzigers,  and  for  the  judicious  ex- 
penditure of  which  I only  yesterday  had  to  furnish  the 
prospectus ; the  revisal  of  Antigone  ” and  of  the  A 
minor  symphony,  its  score  and  parts;  and  a pile  of 
letters.  These  are  the  principal  points,  which,  however, 
branch  off  into  a number  of  secondary  ones.  Besides, 
Raupach  has  already  sent  me  the  first  chorus  of 
‘^Athaha.”  The  ‘‘‘  Midsummer  Night’s  Dream  ” and 
“ CEdipus  ” daily  work  more  busily  in  my  head ; I am 
really  anxious  at  last  to  make  the  “ Walpurgis  Nacht” 
into  a symphony  cantata,  for  which  it  was  originally 
24* 


282 


MENDELSSOHN  S LETTERS. 


intended,  but  did  not  become  so  from  want  of  courage 
on  my  part ; and  I must  also  complete  my  violoncello 
sonata. 

Old  Schroder’s  concert  took  place  three  days  ago, 
in  which  I played,  and  directed  the  overture  to  “ Euy 
Bias ; ” the  old  declamatrice  delighted  us  all  exceed- 
ingly by  the  great  power  and  spirit  of  her  voice,  and 
every  gesture.  In  particular  passages  I thought  she 
laid  rather  too  much  stress  on  the  expression  of  the 
words,  and  gave  too  much  preference  to  details  over 
the  voice ; but  as  a whole  her  genius  was  highly  remark- 
able. In  her  youth,  had  she  the  reputation  of  laying 
more  stress  on  effect  than  was  admissible  ? and  what 
were  her  best  parts  in  those  days?  Her  daughter 
(looking  younger,  and  wilder,  and  more  of  a madcap 
than  ever)  sang  also,  and  sings  this  evening  in  Dohler’s 
concert ; she  will  also  probably  sing  in  our  subscription 
concert  next  Thursday ; the  days  wliich  she  passes  in 
any  town  are  not  of  the  most  quiet  description  for  her 
acquaintances.  We  had,  besides,  Tichatschek,  Wagner, 
Dohler,  Muhlenfels : so  there  was  a continual  hurry 
and  excitement  last  week. 

Make  them  read  aloud  to  you  at  the  tea-table  the 
passage  from  the  last  of  Lessing’s  “ Antiquarian  Let- 
ters,”— Wenn  ich  Kunstrichter  ware,”  etc.  etc., — and 
tell  me  whether  any  of  you  dispute  the  point,  or 
whether  you  all  agree  with  me,  that  it  is  the  most 
exhaustive  address  which  can  be  made  to  a critic, 
indeed  to  every  critic.  At  this  moment,  when  so  many 
artists,  old  and  young,  good  and  bad,  come  here,  this 
passage  daily  recurs  to  me. — Your 


Felix 


COMMUNICATION  FROM  THE  KING. 


283 


To  Paul  Mendelssohn  Bartholdy. 

• Leipzig,  December  5th,  1842. 

My  dear  Brother, 

As  we  agreed  (and  indeed  very  properly)  that  I was 
to  take  no  step  with  regard  to  my  affairs  in  Berlin 
without  informing  you  immediately  of  every  detail,  I 
write  you  these  lines  to-day,  although  I am  over  head 
and  ears  in  business.  I received  yesterday  from  the 
King  the  following  communication : — 

“ By  the  enclosed  written  document  you  will  perceive 
the  tenor  of  the  communication  I have  this  day  made 
on  the  subject  of  an  Institute  for  the  Improvement  of 
Church  Singing ; it  is  addressed  to  the  Special  Commis- 
sioners, W.  Gr.  K.  von  Massow  and  W.  Gr.  B.  Gleneral 
Intendant  of  Court  Music,  Graf  von  Redern.  I have 
also,  in  compliance  with  your  own  wish,  informed  the 
Minister  of  State,  Eichhorn,  and  the  Finance  Minister, 
Yon  Bodelschwingh,  that,  until  you  enter  on  your 
functions,  you  decline  receiving  more  than  fifteen  hun- 
dred thalers^  instead  of  three  thousand.  I nominate  you 
General  Music  Director,  and  intrust  to  you  the  superin- 
tendence and  direction  of  church  and  sacred  music  as 
your  appointed  sphere  of  action. — Charlottenburg,  No- 
vember 22d,  1842.” 

The  enclosure  consists  of  a Cabinet  order,  which  is 
drawn  up  in  a most  clear  and  judicious  style,  entirely 
in  the  spirit  of  our  interview,  and  thoroughly  in  accord- 
ance with  my  wishes,  manifestly  with  the  co-operation 
of  Herr  von  Massow,  and  with  the  true  and  honest 
purpose  of  carrying  out  the  affair-  That  no  materia] 
obstacles  exist,  is  again  evident  from  this  Cabinet  order, 


284 


MENDELSSOHN  S LETTERS. 


but  whether  I may  consider  the  accomplishment  of  the 
project  as  certain,  I cannot  say  with  any  security  till  I 
actually  see  it.  The  affair  of  the  Conservatorium  was 
still  further  advanced,  and  seemed  even  more  decided. 
On  the  other  hand,  I adhere  to  my  former  views,  and 
do  what  I can  to  promote  the  project  and  to  display  my 
good  will  towards  it. 

Herr  von  Massow  writes  to  me  (only  yesterday)  that  1 
had  better  soon  come  again  to  Berlin,  to  converse  with 
him  and  G-raf  von  Eedern,  and  that  only  one  or  two  days 
would  be  required ; I shall,  however,  answer  him  that 
I mean  to  go  there  on  the  17th,  and  have  arranged  to 
remain  till  the  23d.  A longer  stay  is  unfortunately 
impossible  ; still  you  and  I can  have  some  political  gos- 
sip together,  and  be  inseparable  during  my  stay. 

The  king  having  on  this  occasion  conferred  on  me  a 
new  title,*  almost  embarrasses  me ; I am  unwilling  to 
be  of  the  number  of  those  in  the  present  day  who  pos- 
sess a greater  number  of  decorations  than  they  have 
written  good  compositions,  and  yet  it  seems  rather  like 
it ; at  all  events,  I really  have  no  idea  what  return  I 
can  possibly  make  for  all  this ; still,  as  I have  not  in  any 
way  sought  it,  I may  be  excused.  To  refuse  such  a 
thing  is  out  of  the  question,  and  there  is  no  one  who 
does  not  rejoice  in  being  over-estimated,  because  on 
some  other  occasion  the  balance  is  sure  to  be  made  even 
by  depreciation. — Ever  your 

Felix. 


♦ See  Letter  to  the  King  of  the  28th  of  October,  1842. 


CONCERT  FOR  THE  KING. 


285 


To  HIS  Mother. 

Leipzig,  December  11th,  1842. 

Dearest  Mother, 

On  the  21st  or  22d,  we  give  a concert  here  for  the 
King,  who  has  sworn  death  and  destruction  to  all  the 
hares  in  the  country  round.  In  this  concert  we  mean 
to  sing  for  his  benefit  (how  touching!)  the  partridge 
and  hare  hunt  out  of  the  “ Seasons.”  My  “ Walpurgis 
ISTacht”  is  to  appear  once  more  in  the  second  part,  in 
a somewhat  different  garb  indeed  from  the  former  one, 
which  was  somewhat  too  richly  endowed  with  trom- 
bones, and  rather  poor  in  the  vocal  parts ; but  to  effect 
this  I have  been  obliged  to  re-write  the  whole  score 
from  A to  Z,  and  to  add  two  new  arias,  not  to  men- 
tion the  rest  of  the  clipping  and  cutting.  If  I don’t 
hke  it  now,  I solemnly  vow  to  give  it  up  for  the  rest 
of  my  life.  I think  of  bringing  with  me  to  Berlin  a 
movement  from  the  “ Midsummer  Night’s  Dream,”  and 
one  from  “ CEdipus.”  The  music  school  here,  please 
God  1 will  make  a beginning  next  February ; Haupt- 
mann, David,  Schumann  and  his  wife,  Becker,  Pohlenz, 
and  I,  are  to  be  the  teachers  at  first.  Ten  scholars  are 
received  gratis ; the  rest  who  may  wish  to  have  in- 
struction must  pay  seventy-five  thalers  a year.  Now 
you  know  all  that  I know ; the  rest  can  only  be  taught 
by  experience  and  trial. 

I wished  for  you  recently  at  a subscription  concert. 
I think  I never  played  the  Beethoven  G major  concerto 
so  weU, — my  old  cheval  de  bataille  ; the  first  cadence 
especially,  and  a new  return  to  the  solo,  pleased  me 
exceedingly,  and  apparently  the  audience  still  more. 


286 


Mendelssohn’s  letters. 


What  you  write  to  me  about  the  repertoire  of  your 
Berlin  concerts  does  not  inspire  me  with  any  wish  to 
hear  more  about  them.  The  arrangement  of  the  “ Auf- 
for derung  zum  Tanz,”  and  the  compositions  of  English 
ambassadors, — these  are  valuable  things ! If  experi- 
ments are  to  be  thus  made  and  listened  to,  it  would  be 
advisable  to  be  rather  more  liberal  towards  the  works 
of  our  Fatherland.  You  will  again  say  that  I am  cyni- 
cal ; but  many  of  my  ideas  are  so  intimately  connected 
with  my  life  and  my  views  on  art,  that  you  must  be 
indulgent  with  regard  to  them. 

The  monument  to  old  Sebastian  Bach  is  now  very 
handsome.*  Bendemann  was  here  the  day  before  yes- 
terday, to  inspect  it  once  more.  All  the  inner  scaffold- 
ing had  been  removed;  so  the  pillars  and  smaller  col- 
umns, and  scrolls,  and  above  all  the  bas-reliefs,  and  the 
grand,  antiquated  old  features,  sparkled  clearly  in  the 
sun,  and  caused  me  great  delight.  The  whole  structure, 
with  its  numerous  elegant  decorations,  is  really  typical 
of  the  old  fellow.  It  is  now  covered  up  again,  and  will 
remain  so  till  March,  when  it  is  to  be  inaugurated  on 
his  birthday,  by  one  of  his  motetts.  Cedars  are  to  be 
planted  round  the  monument,  and  a Gothic  seat  placed 
in  front  of  it.  We  are  anxious,  however,  not  to  make 
too  much  fuss  on  the  subject,  and  to  avoid  the  present 
pompous  style  of  phraseology,  and  the  worship  of  art 
and  artists,  which  is  so  much  the  fashion. 

Here,  the  outward  aspect  of  things  is  now  as  much 
too  flourishing  as  it  formerly  was  too  miserable  for  art- 
ists, which  would  be  very  pleasant  for  us,  but  it  does 
harm  to  the  cause.  Art  is  becoming  spoiled  and  slug- 


* See  Letter  of  10th  August,  1840. 


Elijah; 


287 


gish,  so  we  should  rather  be  grateful  to  our  present 
enemies  than  be  angry  with  them.  I also  consider  it 
too  much  good  fortune  that  the  King  of  Prussia  has 
nominated  me  Greneral  Music  Director.  This  is  another 
new  title  and  new  honour,  whereas  I really  do  not 
know  how  to  do  enough  to  deserve  the  old  ones. 

This  is  a hallowed  day  for  us  all,  with  its  delightful 
and  memorable  recollections;*  think  of  me  too  on  this 
anniversary,  as  I do  of  you  and  of  him,  so  long  as  life 
endures. — Your 

Felix. 


To  Pastor  Julius  Schubring,  Dessau. 

Leipzig,  December  16th,  1842. 

My  dear  Schubring, 

I now  send  you,  according  to  your  permission,  the 
text  of  Elijah,”  so  far  as  it  goes.  I do  beg  of  you  to 
give  me  your  best  assistance,  and  return  it  soon  with 
plenty  of  notes  on  the  margin  (I  mean  Scriptural  pas- 
sages, etc.).  I also  enclose  your  former  letters  on  the 
subject,  as  you  wished,  and  have  torn  them  out  of  the 
book  in  which  they  were.  They  must,  however,  be 
replaced,  so  do  not  forget  to  send  them  back  to  me.  In 
the  very  first  of  these  letters  (at  the  bottom  of  the  first 
page),  you  properly  allude  to  the  chief  difficulty  of  the 
text,  and  the  very  point  in  which  it  is  still  the  most 
deficient, — in  universally  valid  and  impressive  thoughts 
and  words;  for  of  course  it  is  not  my  intention  to  com- 


The  birthday  of  Mendelssohn’s  father. 


288 


Mendelssohn’s  letters. 


pose  what  you  call  a Biblical  Walpurgis  Night.”  I 
have  endeavoured  to  obviate  this  deficiency  by  the  pas- 
sages written  in  Eoman  letters ; but  there  is  still  some- 
thing wanting,  even  to  complete  these,  and  to  obtain 
suitable  comprehensive  words  for  the  subject.  This, 
then,  is  the  first  point  to  which  I wish  to  direct  your 
attention,  and  where  your  assistance  is  very  necessary. 
Secondly,  in  the  “ dramatic”  arrangement.  I cannot 
endure  the  half  operatic  style  of  most  of  the  oratorio 
words  (where  recourse  is  had  to  common  figures,  as, 
for  example,  an  Israelite,  a maiden,  Hannah,  Micaiah, 
and  others,  and  where,  instead  of  saying  this  and 
that  occurred,”  they  are  made  to  say,  Alas  I I see 
this  and  that  occurring”).  I consider  this  very  weak, 
and  will  not  follow  such  a precedent.  However,  the 
everlasting  ^^he  spake,”  etc.,  is  also  not  right.  Both 
of  these  are  avoided  in  the  text ; still  this  is,  and  ever 
will  be,  one  of  its  weaker  aspects. 

Eeflect,  also,  whether  it  is  justifiable  that  no  posi- 
tively dramatic  figure  except  that  of  Elijah  appears. 
I think  it  is.  He  ought,  however,  at  the  close,  at  his 
ascension  to  heaven,  to  have  something  to  say  (or  to 
sing).  Can  you  find  appropriate  words  for  this  pur- 
pose ? The  second  part,  moreover,  especially  towards 
the  end,  is  still  in  a very  unfinished  condition.  I have 
not  as  yet  got  a final  chorus ; what  do  you  advise  it  to 
be  ? , Pray,  study  the  whole  carefully,  and  write  on 
the  margin  a great  many  beautiful  arias,  reflections, 
pithy  sentences,  choruses,  and  all  sorts  of  things,  and 
let  me  have  them  as  soon  as  possible. 

I also  send  the  Methode  des  Methodes.”  While 
turning’  over  its  leaves,  I could  not  help  thinking  that 


DEATH  OF  HI8  MOTHER. 


289 


you  will  here  and  there  find  much  that  will  be  useful. 
If  (hat  be  the  case,  I beg  you  will  keep  it  as  long  as 
you  and  your  young  pianoforte  player  may  require  it. 
I don’t  use  it  at  all.  If  it  does  not  please  you,  I can 
send  you,  instead  a sight  of  Zimmermann’s  “ Pianoforte 
School,”  which  is  composed  pretty  much  on  the  same 
principle,  and  has  only  different  examples,  etc. 

Speaking  is  a very  different  thing  from  writing. 
The  few  minutes  I lately  passed  with  you  and  yours 
were  more  enlivening  and  cheering  than  ever  so  many 
letters. — Ever  your 

Felix  M.  B. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  December  22d,  1842.* 

My  dear  brother, 

I wrote  to  you  the  day  after  our  arrival  here  that 
we  were  all  well,  and  living  in  our  sorrow  as  we  best 
could,  dwelling  on  the  happiness  we  once  possessed. 
My  letter  was  addressed  to  Fanny,  but  written  to  you 
all ; though  it  seems  you  nad  not  heard  of  it,  and 
even  this  trifle  shows,  what  will  day  by  day  be  more 
deeply  and  painfully  felt  by  us,  that  the  point  of  union 
is  now  gone,  where  even  as  children  we  could  always 
meet,  and  though  we  were  no  longer  so  in  years,  we 
felt  that  we  were  still  so  in  feeling.  When  I wrote  to 
my  Mother,  I knew  that  I wrote  to  you  all,  and  you 
knew  it  too ; we  are  children  no  longer,  but  we  have 


* After  the  death  of  his  mother. 

25 


290 


Mendelssohn’s  letters. 


enjoyed  what  it  really  is  to  be  so.  Now  this  is  gone 
for  ever!  At  such  a time,  with  regard  to  outward 
things,  we  are  as  if  in  a dark  room,  groping  to  find  the 
way,  hour  after  hour.  Tell  me  if  we  cannot  arrange 
that  I should  write  to  one  of  you  by  turns  once  every 
week,  and  get  an  answer  from  you,  so  that  we  may  at 
least  hear  of  each  other  every  three  weeks,  independent 
of  more  frequent  letters ; or  say  whether  any  better 
arrangement  occurs  to  you.  I thank  you  a thousand 
times  for  your  kind  question  about  the  house.  I 
had  thought  of  asking  you  for  it,  and  now  you  offer  it 
to  me.  But  before  we  finally  settle  this,  I should  like 
you  to  bring  the  subject  cautiously  on  the  tapis ^ in  the 
presence  of  our  sisters  and  brother-in-law.  If  you  per- 
ceive that  any  unpleasant  feeling  is  awakened  in  their 
minds  by  such  a proposal,  when  for  the  first  time,  in 
Berlin,  I am  not  to  live  under  the  same  roof  with  them, 
and  if  they  give  any  indication  of  such  a feeling,  even 
by  a single  word  or  remark  (you  will  quickly  observe 
this,  and  I rely  entirely  on  you),  then  we  must  give  it 
up.  In  any  other  event,  I shall  thankfully  accept  your 
kindness.  My  next  visit  to  Berlin  will  be  a severe 
trial  to  me ; indeed,  all  I say  and  do  is  a trial  to  me, — 
anything,  in  short,  that  is  not  mere  patient  endurance. 
I have,  however,  begun  to  work  again,  and  that  is  the 
only  thing  which  occupies  me  a little.  Happily  I have 
some  half- mechanical  work  to  do, — transcribing,  instru- 
mentation, and  similar  things.  This  can  be  accom- 
plished by  a kind  of  almost  animal  instinct,  which  we 
can  follow,  and  which  does  us  more  good  than  if  we 
had  it  not.  But  yesterday  I was  obliged  to  direct. 
That  was  terrible.  They  told  me  that  the  first  time 


CONGRATULATIONS. 


291 


would  be  terrible,  but  sooner  or  later  it  must  be  done. 
I thought  so  too,  but  I would  fain  have  waited  for  a 
few  weeks.  The  first  thing  was  a song  of  Rochlitz’s ; 
but  when  in  the  rehearsal  the  alto  sang,  piano ^ ‘^Wie 
der  Hirsch  schreit,'’*  I was  so  overcome  that  I was 
obliged  afterwards  to  go  out  of  the . room,  to  give  free 
vent  to  my  tears. 

To-day,  Heaven  be  praised,  I am  not  required  to  see 
or  speak  to  any  one,  and  my  cough  is  better.  Thus 
time  glides  on ; but  what  we  have  once  possessed  is 
not  less  precious,  and  what  we  have  now  lost  not  less 
painful,  with  time.  Farewell,  dearest  Brother.  Con- 
tinue to  love  me. — Your 

Felix. 


To  Professor  Kostlin,  Tubingen. 

Leipzig,  January  12th,  1843. 

Dear  Herr  Kdsthn,  or  rather,  dear  Herr  Godfather, 

You  have  caused  me  much  joy  by  your  kind  letter 
of  yesterday,  and  by  the  happy  intelligence  it  contained, 
and,  above  all,  by  your  wish  that  I should  be  godfather  I 
Indeed,  you  may  weU  believe  that  I gladly  accede  to 
the  request,  and  after  reading  your  letter  it  was  some 
moments  before  I could  reahze  that  I could  not  possibly 
be  present  at  the  baptism.  In  earlier  days,  no  reason- 
ing would  have  been  of  any  avail ; I would  have  taken 
post-horses  and  arrived  in  your  house  for  the  occasion. 


* From  his  own  Psalm,  op.  42. 


292 


Mendelssohn’s  letters. 


This  I cannot  now  do ; but  if  there  be  such  a thing  as 
to  be  present  in  spirit,  then  I shall  indeed  be  so.  The 
remembrance  of  me  by  such  well-beloved  friends,  and 
this  proof  of  your  regard,  which  causes  a still  more 
close  and  enduring  tie  between  us,  cannot  fail  to  cause 
true  joy  and  exhilaration  of  heart ; and,  believe  me,  I 
feel  this  joy,  and  thank  you  and  your  wife  for  it. 

That  I am  to  be  godfather  is  then  settled ; but  there 
are  a thousand  things  I still  wish  to  know,  and  if,  when 
the  christening  is  over,  you  do  not  write  me  all  the 
details  which  you  omit  in  this  letter,  you  must  expect  a 
good  scolding.  You  forget  that  I have  myself  three 
children,  so  I am  doubly  interested  in  such  things. 
You  do  not  even  mention  the  name  the  boy  is  to  have, 
and  whether  he  is  fair  or  dark,  or  has  black  or  blue 
eyes.  My  wife  is  as  desirous  as  I am  to  know  aU  this, 
and  we  hope  that  after  the  christening  you  will  write 
to  us  every  particular.  You  were  rather  displeased 
with  me  for  being  so  bad  a correspondent.  I earnestly 
entreat  of  you  never  to  be  displeased  with  me  on  that 
account ; I cannot  remedy  this ; it  is  a fault  which,  in 
spite  of  the  best  resolutions  on  my  part,  I constantly 
fall  into,  and  which  I shall  never  be  cured  of  so  long  as 
I live.  There  is  so  much  that  stands  in  my  way ; first, 
a really  instinctive  dislike  to  pen  and  paper,  except 
where  music  is  concerned ; then  the  various  scattered 
branches  of  a perfect  maze  of  professional  and  othei 
avocations,  which  I am  obliged  to  undertake  partly  for 
myself  and  partly  for  others,  so  that  I really  sometimes 
can  only  carry  on  hfe  like  a person  in  a crowd  pushing 
his  way,  and  shoving  along  with  both  his  elbows,  using 
his  feet  too,  as  well  as  his  fists  and  teeth,  etc.  This  is 


A DANISH  COMPOSER. 


293 


in  fact,  iry  mood  many  a week ; I extort  tlie  time  for 
writing  music,  otherwise  I could  not  go  on  from  day  to 
day ; but  I cannot  find  leisure  to  write  letters. 

We  have  had  recently  a bitter  heavy  loss  to  bewail, 
— that  of  my  dear  Mother.  I intended  to  have  written 
in  a gay  mood  all  through  this  letter,  and  not  by  a sin- 
gle word  to  allude  to  anything  that  by  its  melancholy 
nature  might  disturb  your  happiness,  but  I feel  that  I 
must  write  this  to  you,  otherwise  aU  that  I say  would 
appear  mere  hypocrisy.  You  must  therefore  take  part 
in  my  sorrow,  for  I could  not  conceal  from  you  the 
event  that  during  the  last  few  weeks  has  so  bowed  us 
down  from  grief,  and  which  it  will  be  long  before  we 
can  recover  from.  Yet  such  a letter  as  yours  is  wel- 
come at  aU  times,  and  in  aU  sorrow,  and  just  as  I know 
how  you  will  feel  towards  me  on  hearing  this,  so  you 
know  how  cordially  I sympathize  with  your  joy  ; this 
may  well  be  called  sincere  attachment!  G-ive  your 
wife  a thousand  greetings  and  congratulations  from  me. 
Tell  me  if  she  has  composed  new  songs  or  anything 
else  ; what  I should  like  best  would  be  to  receive  one 
from  her  in  a letter ; they  always  delight  me  so  much, 
when  I hear  and  play  them. — Ever  your  devoted 

Felix  Mendelssohn  Bartholdy. 


To  Fanny  Hensel,  Berlin. 

Leipzig,  January  13th,  1843. 

...  We  yesterday  tried  over  a new  symphony  by  a 
Dane  of  the  name  of  Grade,  and  we  are  to  perform  it  iu 
25* 


294 


Mendelssohn’s  letters. 


the  course  of  the  ensuing  month ; it  has  given  me  more 
pleasure  than  any  work  I have  seen  for  a long  time. 
He  has  great  and  superior  talents,  and  I wish  you  could 
hear  this  most  original,  most  earnest,  and  sweet-sound- 
ing Danish  symphony.  I am  writing  him  a few  lines 
to-day,  though  I know  nothing  more  of  him  than  that 
he  lives  in  Copenhagen,  and  is  twenty-six  years  of  age, 
but  I must  thank  him  for  the  delight  he  has  caused  me  ; 
for  there  can  scarcely  be  a greater  than  to  hear  fine 
music ; admiration  increasing  at  every  bar,  and  a feel- 
ing of  congeniahty  • would  that  it  came  less  seldom  I 


To  H.  W,-  Gtade,  Professor  of  Music,  Copenhagen. 

Leipzig,  January  13th,  1843. 

Sir, 

We  yesterday  rehearsed  for  the  first  time  your  sym- 
phony in  C minor,  and  though  personally  a stranger, 
yet  I cannot  resist  the  wish  to  address  you,  in  order 
to  say  what  excessive  pleasure  you  have  caused  me  by 
your  admirable  work,  and  how  truly  grateful  I am  for 
the  great  enjoyment  you  have  conferred  on  me.  It  is 
long  since  any  work  has  made  a more  lively  and  favour- 
able impression  on  me,  and  as  my  surprise  increased  at 
every  bar,  and  yet  every  moment  I felt  more  at  home, 
I to-day  conceive  it  to  be  absolutely  necessary  to  thank 
you  for  all  this  pleasure,  and  to  say  how  highly  I esteem 
your  splendid  talents,  and  how  eager  this  symphony 
(which  is  the  only  thing  I know  of  yours)  makes  me 
to  become  acquainted  with  your  earlier  and  future  com- 


oade’s  symphony  in  c minor. 


295 


I ositions ; but  as  I bear  tbat  you  are  still  so  young,  it 
is  the  thoughts  of  those  to  come  in  which  I particularly 
rejoice,  and  your  present  fine  work  causes  me  to  antici- 
pate these  with  the  brightest  hopes.  I once  more 
thank  you  for  it  and  the  enjoy menj^  I yesterday  had. 

We  are  to  have  some  more  rehearsals  of  the  sym- 
phony, and  shall  probably  perform  it  in  the  course  of 
three  or  four  weeks.  The  parts  were  so  full  of  mis- 
takes, that  we  were  obliged  to  revise  them  all,  and  to* 
have  many  of  them  transcribed  afresh;  next  time  it 
will  not  be  played  like  a neiT  f ^ut  as  one  familiar 
and  dear  to  the  whole  orchestra.  Tuis  was  indeed  the 
case  yesterday,  and  there  was  only  one  voice  on  the 
subject  among  us  mmidans^  but  it  must  be  played  so 
that  evtry  one  may  hear  it  properly.  Herr  Eaymond 
Hartel  told  me  there  was  an  idea  of  your  coming  here 
yourself  in  the  course  of  the  winter.  I hope  this  may  be 
the  case,  as  I could  better  and  more  plainly  express 
my  high  estimation  and  my  gratitude  to  you  verbally, 
than  by  mere  empty  written  words.  But,  whether  we 
become  acquainted  or  not,  I beg  you  will  always  look 
on  me  as  one  who  wiU  never  cease  to  regard  your 
works  with  love  and  sympathy,  and  who  will  ever  feel 
the  greatest  and  most  cordial  delight  in  meeting  with 
such  an  artist  as  yourself,  and  such  a work  of  art  as 
your  C minor  symphony. — Your  devoted 

Felix  Mendelssohn  Bartholdy. 


296 


Mendelssohn’s  letters. 


To  Carl  Klingemann,  London. 

Leipzig,  January  15th,  1843. 

I cannot  as  yet  at  all  reconcile  nciyself  to  distraction 
of  thought  and  every-day  hfe,  as  it  is  called,  or  to  life 
with  men  who  in  fact  care  very  little  about  you,  and  to 
whom  what  we  can  never  forget  or  recover  from,  is 
only  a mere  piece  of  neius.  I now  feel,  however,  more 
vividly  than  ever  what  a heavenly  calling  Art  is ; and  for 
this  also  I have  to  ^y  parents;  just  when  all  else 

which  ought  to  interest  th<=^  mind  appears  so  repugnant, 
and  empty,  and  insipid,  the  smallest  real  service  to 
Art  lays  hold  of  your  inmost  thoughts,  leading  you  so 
far  away  from  town,  and  country,  and  from  earth  itself, 
that  it  is  indeed  a blessing  sent  by  God.  A few  days 
previous  to  the  11th,  I had  undertaken  to  transcribe 
my  “ Walpurgis  Nacht,”  which  I had  long  intended  to 
do,  and  caused  the  voice  parts  of  the  whole  of  the 
voluminous  score  to  be  written  out  and  copied  afresh. 
Then  I was  summoned  to  Berlin,  and  after  an  interval 
of  some  weeks,  I have  now  begun  to  write  the  instru 
meni  al  parts  in  my  little  study,  which  has  a pretty  view 
of  fields,  and  meadows,  and  a village.  I sometimes 
could  not  leave  the  table  for  hours,  I was  so  fascinated 
by  such  pleasant  intercourse  with  the  old  familiar  oboes 
and  tenor  violins,  which  live  so  much  longer  than  we 
do,  and  are  such  faithful  friends.  I was  too  sorrowful, 
and  the  wound  too  recent,  to  attempt  new  composi- 
tions ; but  this  mere  mechanical  pursuit  and  employ- 
ment was  my  consolation  the  whole  time  that  I was 
alone,  when  I had  not  my  wife  and  children  with  their 


ADMIRATION  OF  JEAN  PAUL. 


297 


beloved  faces,  who  make  me  forget  even  music,  and 
cause  me  daily  to  think  how  grateful  I ought  to  be  to 
Grod  for  all  the  benefits  he  bestows  on  me. 

You  have  not  quite  understood  my  previous  letter. 
You  say  could  not  act  otherwise  in  my  official  posi- 
tion.” It  was  not  that^  it  was  my  Mother  I alluded  to. 
All  the  plans  and  projects  have  since  then  been  digging 
on  slowly ; I have  my  half-salary,  and  begun  the  music 
for  the ‘‘ Midsummer  ISTight’s  Dream,”  CBdipus,”  and 
others  for  the  King.  My  private  opinion  is,  still,  that 
he  is  resolved  to  allow  things  to  rest  as  they  are ; in 
the  mean  time,  I have  established  the  Conservatorium 
here,  the  official  announcement  of  which  you  will  read 
in  the  newspapers,  and  it  gives  me  a great  deal  to  do. 


To  Madame  Emma  Preusser. 

Leipzig,  February  4th,  1843. 

Dear  Lady, 

I send  Siebenkas,”  according  to  your  desire.  May 
it  cause  you  half  the  pleasure  it  caused  me  when  I first 
read  it,  and  very  frequently  since.  I believe  that  the 
period  when  we  first  learn  to  love  and  to  know  such  a 
glorious  work,  is  among  the  happiest  hours  of  our  lives. 
As  you  have  read  very  little  of  Jean  Paul,  were  I in 
your  place,  I would  not  concern  myself  much  about  the 
prologues,  but  at  first  entirely  discard  the  “Blumen- 
stiicke,”  and  begin  at  once  at  page  26,  and  follow  the 
story  of  “ Siebenkas  ” to  its  close.  When  you  have 
read  this,  and  perhaps  also  the  ‘^Flegel  Jahre,”  and 


298 


Mendelssohn’s  letters. 


some  more  of  his  wonderful  works,  then  no  doubt  you 
will  like  and  prize  all  he  has  written, — even  the  more 
laboured,  the  less  happy,  or  the  obsolete, — and  then 
you  will  no  longer  wish  to  miss  the  “Blumenstiicke,” 
the  prologues,  and  the  Traum  im  Traum,”  etc.  etc. 

As  soon  as  you  wish  for  anything  new,  you  will 
always  find  me  at  the  service  of  you  and  yours. — Your 
devoted 

Felix  Mendelssohn  Bartholdy, 


To  N.  W.  Gtade,  Professor  of  Music,  Copenhagen. 

Leipzig,  March  3d,  1843. 

Sir, 

Your  C minor  symphony  was  performed  for  the  first 
time  yesterday  at  our  eighteenth  subscription  concert 
here,  to  the  lively  and  unalloyed  dehght  of  the  whole 
public,  who  broke  out  into  the  loudest  applause  at  the 
close  of  each  of  the  four  movements.  There  was  great 
excitement  among  the  audience  after  the  scherzo,  and 
the  shouting  and  clapping  of  hands  seemed  intermi- 
nable ; after  the  adagio  the  very  same ; after  the  last, 
and  after  the  first, — in  short,  after  all!  To  see  the 
musicians  so  unanimous,  the  pubhc  so  enchanted,  and 
the  performance  so  successful,  was  to  me  a source  of 
delight  as  great  as  if  I had  written  the  work  myself,  or 
indeed  I may  say  greater, — for  in  my  own  compositions 
the  faults  and  the  less  successful  portions  always  seem 
to  me  most  prominent,  whereas  iti  your  work  I felt 
nothing  but  pure  delight  in  all  its  admirable  beauties. 


gade’s  symphony  in  c minor. 


299 


By  the  performance  of  yesterday  evening  you  have 
gained  the  whole  of  the  Leipzig  public,  who  truly  love 
music,  as  permanent  friends;  none  here  will  ever  hence- 
forth speak  of  you  or  of  your  works  but  with  the  most 
heartfelt  esteem,  and  receive  with  open  arms  all  your 
future  compositions,  which  will  be  assiduously  studied, 
and  joyfully  hailed,  by  all  friends  of  music  in  this  town. 

Whoever  wrote  the  last  half  of  this  scherzo  is  an 
admirable  genius,  and  we  have  a right  to  expect  the 
most  grand  and  glorious  works  from  him.”  Such  was 
the  universal  opinion  yesterday  evening  in  our  orchestra 
and  in  the  whole  hall;  and  we  are  not  fickle  here. 
Thus  you  have  acquired  a large  number  of  friends  for 
fife  by  your  work;  fulfil,  then,  our'wishes  and  hopes 
by  writing  many,  many  works  in  the  same  style,  and 
of  the  same  beauty,  and  thus  imparting  new  life  to  our 
beloved  art ; and,  to  effect  this.  Heaven  has  bestowed 
on  you  all  that  He  can  bestow. 

Besides  the  rehearsal  which  I formerly  wrote  to  you 
about,  we  recently  had  two  others,  and,  with  the  ex- 
ception of  some  trifling  unimportant  mistakes,  the 
symphony  was  played  with  a degree  of  spirit  and  en- 
thusiasm which  at  once  showed  how  highly  enchanted 
the  musicians  were  with  it.  I hear  that  it  is  to  be 
published  by  Kistner:  so  permit  me  to  ask  whether 
the  heading  of  the  first  introduction,  | time,  afterwards 
repeated,  may  not  give  rise  to  misapprehension  ? If  I 
am  not  mistaken,  it  is  marked  moderato  sostenuto.  In- 
stead of  this  sostenuto^  ought  it  not  rather  to  be  printed 
con  motOj  or  con  molto  di  moto  f That  heading  would, 
it  seems  to  me,  lead  to  the  right  tempo^  if  it  were  ^ time 
instead  of  f ; but  in  | time  it  is  so  very  customary  tc 


300 


Mendelssohn’s  letters. 


count  the  separate  crotcliets  slowly  and  deliberately, 
that  I think  the  movement  would  be  taken  too  slow, 
which  I found  to  be  the  case  at  the  first  rehearsal,  until 
I no  longer  paid  any  attention  to  the  notes  or  the 
heading,  but  adhered  to  the  sense  alone.  As  many 
musicians  cling  so  closely  to  such  headings,  I was  re- 
solved at  all  events  to  mention  to  you  my  doubts  on 
this  subject. 

Allow  me  to  thank  you  once  more  for  your  obliging 
letter,  and  the  friendly  intention  which  you  inform  me 
of  in  it;*  but  I thank  you  still  more  for  the  pleasure 
which  you  have  caused  me  by  the  work  itself;  and  pray 
believe  that  no  one  will  follow  your  future  course  with 
warmer  sympathy,  or  anticipate  your  future  works 
with  more  anxiety  and  hope,  than  your 

Felix  Mendelssohn  Bartholdy. 


To  I.  Moscheles,  London. 

Leipzig,  April  30th,  1843. 

. . . Our  Music  Academy  here  has  made  a famous 
beginning;  fresh  notices  of  students  arrive  almost  daily, 
and  the  number  of  teachers,  as  well  as  of  lessons,  has 
been  necessarily  very  much  increased. 

Two  serious  maladies,  however,  are  apparent,  which 
I mean  vigorously  to  resist  with  might  and  main  so 
long  as  I am  here  : the  Direction  is  disposed  to  increase 
and  generalize, — that  is,  to  build  houses,  to  hire  locah- 
ties  of  several  stories;  whereas  I maintain  that,  for 


♦ Gade  dedicated  his  C minor  s7mphony  to  Mendelssohn. 


THE  ZAUBERFLOTE. 


301 


the  first  ten  years,  the  two  rooms  we  have,  in  which 
simultaneous  instruction  can  be  given,  are  sufficient. 
Then  all  the  scholars  wish  to  compose  and  to  theorize ; 
while  it  is  my  belief  that  practical  work,  thorough 
steady  practising,  and  strict  time,  a solid  knowledge  of 
all  solid  works,  etc.,  etc  , are  the  chief  things  which  can 
and  must  be  taught.  From  these,  all  other  knowledge 
follows  as  a thing  of  course,  and  anything  further  is  not 
the  affair  of  learning,  but  the  gift  of  God.  I need  not, 
however,  I am  sure,  say  that,  notwithstanding  this,  I 
am  far  fi:om  wishing  to  render  Art  a mere  handicraft. 


To  A.  SiMROCK,  Bonn. 

Leipzig,  June  12th,  1843, 

Sir, 

Herr  Herrmann,  some  time  since,  inquired  of  you 
once,  in  my  name,  about  the  printed  score  of  the 
Zauberfldte but  I now  apply  to  yourself  to  know 
whether  any  copy  of  it  still  exists  in  the  original  Ger- 
man, or  if  any  ever  did  exist.  And  if  neither  be  the 
case,  I should  like  to  know  whether  you  are  disposed 
to  allow  the  original  correct  text  to  be  substituted  in 
your  plates  of  this  opera,  and  some  proofs  to  be  taken. 
It  appears  to  me  almost  a positive  duty  that  such  a 
work  should  descend  to  posterity  in  its  unvitiated  form  ; 
we  indeed  all  know  perfectly  well,  for  instance,  the  aria 
beginning  wdth  the  words  “ Dies  Bildniss  ist  bezaubernd 
schdn,”  but  if  in  the  course  of  a few  years  the  younger 
musicians  always  see  it  printed  thus,  “ So  reizend  hold 
26 


302 


MENDELSSOHN  S LETTERS. 


SO  zaub’risch  schon,”  they  will  acquire  a false  idea  ol 
Mozart’s  thoughts;  and  I go  so  far  as  to  assert  that 
even  the  most  undeniably  bad  passages  in  such  a text 
deserve  to  be  retained,  as  Mozart  composed  music  for 
them,  and  they  have  thus  become  household  words  all 
through  Germany.  If  improvements  are  to  be  propos- 
ed, it  is  all  very  well,  but  in  that  event  they  ought  to 
stand  side  by  side  with  the  original  words ; in  no  case 
must  they  be  entirely  banished,  otherwise  fidelity 
towards  the  great  deceased  master  is  not  properly 
observed.  I beg  you  will  say  a few  words  on.  this 
point  when  you  write  to  Herr  Herrmann ; and  if  you 
resolve  to  alter  your  plates,  then  I shall  be  the  first,  but 
certainly  not  the  last,  of  your  customers  to  thank  you 
for  it. — Your  obedient 

Felix  Mendelssohn  Bartiioldy. 


To  G.  Otten,  Hamburg. 

Leipzig,  July  7th,  1843. 

Sir, 

My  best  thanks  for  your  obhging  letter,  which  con- 
tains much  that  is  really  far  too  kind  and  flattering 
about  myself  and  my  music.  Gladly,  in  compliance 
with  your  friendly  invitation,  would  I at  some  future 
time  come  to  express  my  thanks  to  you  personally,  and 
to  play  to  you  as  you  wish  me  to  do.  Since  we  met 
in  Dessau  I have  learnt  a good  deal  more,  and  have 
made  progress.  But  you  must  not  compare  my  play- 
ing with  my  music;  I feel  quite  embarrassed  by  such 


RIGHT  EMPLOYMENT  OF  TALENTS. 


303 


an  idea,  and  I am  certainly  not  the  man  to  prevent 
people  worshipping  the  golden  calf,  as  it  is  called  in  the 
fashion  of  the  day.  Moreover,  I believe  that  this  mode 
will  soon  pass  away,  even  without  opposition.  True, 
a new  one  wiU  certainly  start  up ; on  this  account 
therefore  it  seems  to  me  best  to  pursue  one’s  own  path 
steadily,  and  especially  to  guard  against  an  evil  custom 
of  the  day,  which  is  not  included  in  those  you  name, 
but  which,  however,  does  infinite  harm, — squandering 
and  frittering  away  talents  for  the  sake  of  outward 
show.  This  is  a reproach  which  I might  make  to 
most  of  our  present  artists,  and  to  myself  also  more 
than  I could  wish ; I have  no  great  inclination  there- 
fore to  extend  my  travels,  but  rather  to  restrict  them 
far  more,  in  order  to  strive  with  greater  earnestness  for 
my  own  improvement  instead  of  the  good  opinion  of 
others. 

I conclude  by  thanking  you  for  your  friendly  letter, 
and  pray  remember  kindly  your  obedient 

Felix  Mendelssohn  Barthold y. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  July  21st,  1843. 

Dear  Brother, 

I had  almost  hoped  to  be  able  to  answer  your  letter 
in  person,  for  I was  very  nearly  taking  a journey  to 
Berlin  again,  Herr  von  Massow  has  sent  me  a commu- 
nication connected  with  that  tedious  everlasting  affair, 
which  irritated  me  so  much  that  it  almost  made  me  ill, 


304 


Mendelssohn’s  letters. 


and  I do  not  feel  right  yet.  In  my  first  feeling  of  anger, 
I wished  to  go  to  Berlin  to  speak  to  you  and  break  off 
the  whole  affair ; but  I prefer  writing,  and  so  I am  now 
writing  to  you.  Instead  of  receiving  the  assent  to  the 
proposals  on  which  we  had  agreed  in  the  interview  of 
the  10th,*  Herr  von  Massow  sends  me  a commission 
to  arrange  for  orchestra  and  chorus,  without  delay, 
the  chorale,  “ Herr  Grott,  Dich  loben  wir,”  the  longest 
chorale  and  the  most  tiresome  work  which  I ever  at- 
tempted ; and  the  day  after  I had  finished  it  and  sent 
it  off,  I receive  an  official  document  which  I must  sign 
before  the  assent  of  the  King  can  be  solicited ; when  I 
had  signed  it,  the  others  present  at  that  conference 
would  also  subscribe  their  names.  In  this  deed  all  the 
stipulations  are  correctly  stated,  but  six  or  eight  addi- 
tional clauses  are  written  on  the  margin  not  one  syl- 
lable of  which  had  ever  been  named  during  the  con- 
ference, invalidating  the  whole  intention  of  the  above 
stipulations,  and  placing  myself  and  the  Institute  in  the 
most  entire  subservience  to  Herr  von  Kustner, — and, 
in  short,  showing  in  the  clearest  light  all  the  difficulties 
to  which  I formerly  alluded,  and  the  existence  of  which 
Herr  von  Massow  denied.  Among  other  things,  it  is 
said,  the  appointment  of  the  orchestra  for  all  church 
music  is  to  be  devolved  on  the  theatrical  music  direc- 
tion ; before  every  concert  there  must  be  an  application 
made  to  the  G-eneral  Intendancy,  whether  the  day, 
which  according  to  our  agreement  was  to  be  settled 
once  for  all  at  the  beginning  of  the  winter,  is  to  con- 

* This  conference  was  held  in  order  to  hasten  the  performance  of  the 
plans  of  the  King.  See  the  letters  of  28th  October,  1842,  and  5th  De- 
cember, 1842, 


THE  BERLIN  PROPOSAL, 


305 


tinue  the  same  or  be  altered,  etc. ; all  things  of  which 
not  one  syllable  had  been  alluded  to  in  the  conference. 
As  I told  you,  I fretted  myself  till  I was  quite  ill  about 
it.  Remembering  your  words,  I thought  it  the  most 
judicious  plan  to  write  direct  to  the  King  and  break 
off  the  affair.  After  two  days’  consideration,  I did  not 
think  I was  justified  in  doing  so;  I therefore  wrote  to 
Herr  von  Massow,  why  and  wherefore  I could  not  give 
my  signature,  requesting  him  to  inform  me  whether 
the  King  intended  to  carry  out  our  former  agreement. 
If  he  did  not  feel  disposed  to  do  so,  or  if  he,  Herr  von 
Massow,  considered  it  necessary  to  insert  new  clauses 
in  the  agreement,  I should  then  consider  the  affair 
impracticable,  and  must  act  accordingly.  In  the  other 
view  of  the  case,  he  knew  that  I was  prepared  to 
come ; I was  also  to  say  how  far  I had  got  with  “ (Edi- 
pus.”  I answered  that,  in  accordance  with  Tieck’s 
wish,  I had  arranged  the  Midsummer  ISTight’s  Dream” 
with  music,  to  be  performed  in  the  new  palace  ; that  I 
had  also,  by  special  commission  from  the  King,  written 
choruses,*  and  that  I had  not  resumed  the  choruses  of 
“ (Edipus”  since  the  previous  autumn,  because  another 
Greek  piece  had  been  appointed  to  be  performed.  I 
said  all  this  in  a friendly  manner,  but  I do  assure  you 
that  the  affair  cost  me  four  most  angry,  disturbed,  and 
irksome  days.  If  I could  only  have  spoken  to  you  for 
a single  hour ! I should  have  been  glad  to  know  whe- 
ther you  approved  of  my  course, — that  is,  of  my  letter, 
— or  whether  you  would  have  preferred  a short  letter 
resigning  the  appointment.  It  is  really  too  provoking 


* Neither  of  these  works,  however,  had  yet  been  performed. 

2r> 


306 


Mendelssohn’s  letters. 


that  in  all  and  everything  the  sarae  spirit  prevails ; in 
this  case,  too,  all  might  be  smoothed  over  and  set  to 
rights  by  a few  words,  and  every  moment  I expect  to 
hear  them  spoken,  and  then  there  would  be  a possibi- 
lity of  something  good  and  new;  but  they  are  not 
spoken,  and  they  are  replaced  by  a thousand  annoyanc- 
es, and  my  head  at  last  is  so  bewildered  that  I think  I 
become  almost  as  perverted  and  unnatural  as  the  whole 
affair  is  at  last  likely  to  turn  out.  Forgive  me  for  caus- 
ing you  to  have  your  share  of  annoyance,  but  now  I have 
told  you  all, — and  enough.  I have  not  been  able  to 
work  during  these  days.  To  make  up  for  this,  I have 
done  the  ‘‘Jungfrau”  for  you  in  Indian  ink;  the  moun- 
tain I think  is  excellent,  but  I have  again  utterly  de- 
stroyed the  pines  in  the  foreground.  I mean  now,  too, 
to  resume  your  sonata. — Your 

Felix. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  July  26th.  1843. 

Dearest  Brother, 

I have  just  received  your  kind  Tetter,  and  indeed  at 
the  very  moment  when  I was  about  to  write  to  you 
and  beg  you  to  give  me  quarters.  Next  Tuesday,  the 
1st  of  August,  I am  obliged  to  return  to  Berlin  to 
rehearse  and  perform  the  “ Tausendjahrige  Beich,”  and 
to  hear  from  the  King  his  views  with  regard  to  the  com- 
position of  the  Psalms.  He  yesterday  summoned  me 
for  this  purpose,  and  of  course  I must  go,  and  of  course 
I must  live  with  you;  but  is  it  also  of  course  that 


SUMMONS  TO  BERLIN. 


307 


my  visit  is  convenient  to  you?  This  time  I shall 
remain  at  least  eight  days ; on  the  sixth  is  the  celebra- 
tion of  the  above-mentioned  “ Eeich.”  Give  me  a 
line  in  answer. 

I have  a reply  to  my  letter  from  Yon  Massow,  who 
writes  me  the  King’s  invitation ; he  says  we  are  sure 
to  agree,  and  that  some  matters  of  form  are  the  only 
things  in  question;  that  I shall  spare  myself  the 
annoyance  and  vexation  which  such  a tiresome  corre- 
spondence must  entail,  and  that  as  I am  coming  at  all 
events  for  the  “ Tausendjahrige  Eeich,”  I can  also  reply 
personally  to  the  zehntausendjdhrige  affair.  Herr  von 
Massow,  in  fact,  says  pretty  plainly,  Asking  and  bid- 
ding make  the  bargain that  he  wished  to  see  whe- 
ther I would  sign;  and  this  not  being  the  case,  the 
others  would  no  doubt  give  way,  etc.,  etc.  All  this  is 
very  confusing,  and  I do  not  at  all  like  it.  To  be  sure, 
it  is  true  that  his  head  must  also  be  in  a maze,  and  he 
appears  to  take  all  imaginable  trouble  about  the  affair. 
I mean  to  bring  you  the  whole  of  the  everlasting  papers 
for  your  inspection ; we  can  read  them  together  when 
we  meet.  I hope  on  this  occasion  not  merely  to  have 
a Court  dinner  with  the  King,  but  a satisfactory  dis- 
cussion on  business, — probably  the  easiest  mode  of 
bringing  about  a result.  I wish,  if  possible,  to  defer 
this  till  after  the  celebration  of  the  iausendjdhrig  festi- 
val ; the  chorale  that  I wrote  for  it  is,  I believe,  just 
what  the  King  wishes ; at  all  events,  it  furnishes  an 
opportunity  for  a complete  understanding. 

My  anger,  which  was  indeed  greater  on  this  occa- 
sion than  for  a long  time  past,  I shook  off  in  a defile  on 
the  way  to  Naumburg,  close  to  Eippach,  where  you 


308 


Mendelssohn’s  letters. 


drive  down  to  Weissenfels ; and  a couple  of  good  talks 
and  walks  with  Miihlenfels  fairly  banished  every  trace 

of  it.  Kosen  was  a pretty  sight ; we  met  Mile.  F 

and  Herr  C under  the  hazel-bushes  and  lovely 

lime-trees,  and  from  every  shrub,  instead  of  glow- 
worms glittered  the  order  of  the  red  eagle,  of  different 
classes;  but  it  was  really  beautiful.  And  now  I am 
writing  music  once  more  instead  of  painting  fir-trees ; 
therefore  I cannot  positively  promise  to  finish  the 
Jungfrau”  before  eight  days.  I have  washed  out  the 
forest  recently,  for  the  second  time.  It  is  a year  the 
day  after  to-morrow  since  we  set  off  to  Switzerland. — 
Your 

Felix. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  August  iJCth,  1843. 

Dear  Brother, 

I yesterday  received  a letter  from  Herr  von  Massow 
containing  the  intelligence  that  the  King  had  fully 
sanctioned  the  affair  of  the  Wirklich  Geheimrath;  I 
wished  to  write  this  to  you  instantly.*  To-day  I got 
a second  letter,  with  the  information  that  the  King  de- 
sires to  have  three  representations  in  the  New  Palace 
in  the  second  half  of  September,  namely,  1,  “Antigone 

* The  execution  of  this  project,  also,  was  not  completed;  and 
Mendelssohn,  after  some  time  had  elapsed,  requested  the  King  to 
relieve  him  from  all  public  duties,  and  to  be  permitted  to  remain  only 
in  an  artistic  and  personal  relation  to  his  Majesty,  to  which  the  King 
was  graciously  pleased  to  acoede. 


LETTER  TO  HIS  BROTHER. 


309 


2,  “ The  Midsummer  Night’s  Dream ; ” 3,  “ Athalia  ” 
Medea  ” is  to  be  given  between  Nos.  1 and  2,  and  all 
the  four  within  fourteen  days)  ; and  I am  invited  to 
Berlin  for  the  purpose.  Now,  I would  rather  not  write, 
for  I have  a frightful  quantity  of  things  to  do  before 
then,  as  not  one  of  the  scores  is  yet  fit  for  the  tran- 
scriber, and  the  overture  to  “Athalia  ” still  wanting,  as 
well  as  the  instrumentation  of  the  whole,  etc.,  etc.  I 
have  written  nevertheless  that  I would  come,  and  the 
music  should  be  finished. — Ever  your 

Felix. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  September  16th,  1843. 

Dear  Brother, 

Six  days  ago,  Herr  von  Kustner  (after  a silence  of 
ten  days,  in  spite  of  all  my  letters  and  messages)  wrote 
to  me,  that  the  whole  project  of  the  representations  in 
the  New  Palace  was  postponed  till  October.  So  of 
course  I receive  from  him  a letter  to-day,  saying  that 
“on  Tuesday,  the  19th,  ^Antigone’  is  to  be  given.” 
Luckily  I smelt  a rat,  and  shall  set  off  to  Berlin  by  the 
first  train  the  day  after  to-morrow. 

I defer  all  else  till  we  meet.  You  gave  me  permission 
to  occupy  the  only  hotel  in  Berlin  that  I like,  so  I mean 
to  go  to  you.  Au  revoir. — Your 


Felix. 


310 


Mendelssohn’s  letters. 


To  THE  Hoch  Edelrath  of  Leipzig. 

{The  Corporation.) 

Leipzig,  October  3d,  1843. 

To  the  Corporation  of  the  City  of  Leipzig  I am  in- 
debted for  the  privilege  of  considering  myself  as  in 
every  sense  belonging  to  that  city.  I therefore  take 
the  liberty  to  address  myself  to  the  Corporation  on  a 
subject  which,  though  it  does  not  personally  concern 
me,  is  closely  connected  with  the  interests  of  Art  in 
this  place,  and  with  the  city  itself.  I hope  on  this  ac- 
count for  their  indulgence,  and  esteem  it  my  plain, 
bounden  duty  as  a citizen,  not  to  be  idly  silent  on  such 
an  occasion,  but  to  express  my  dutiful  wish,  and  re- 
quest, in  confidence  to  the  Corporation. 

The  town  orchestra  here  has  communicated  to  me  a 
memorial,  in  which  they  beg  that  some  alterations  may 
be  made  in  the  terms  of  their  contract  with  the  lessee 
of  the  theatre.  Their  chief  object  is  an  increase  of 
their  salaries,  which  have  for  many  years  remained  the 
same,  and  also  an  improvement  in  the  deputy  regula- 
tions ; and  for  the  attainment  of  this  purpose  the  inter- 
vention of  the  Corporation  is  requested. 

The  petition  has  been  rejected  in  its  most  essential 
points;  for,  instead  of  the  increase  of  salary  demanded, 
the  reply  is  that  the  lessee  of  the  theatre  means  to  ex- 
pend three  hundred  thalers  more  yearly  on  the  orchestra 
(which  three  hundred  thalers  must  be  divided  among 
thirty-one  persons),  and  that  “if  he  is  satisfied  with 
the  performances  of  the  orchestra,  and  if  his  receipts 
admit  of  it,  he  may  possibly  be  disposed  to  grant  a do- 
nation to  the  orchestra.” 


ADDRESS  TO  THE  CORPORATION  OF  LEIPZIG.  311 

I can  only  attribute  such  a proposal  to  some  indistinct 
statement  in  the  memorial,  or  some  obscure  expressions. 
For,  in  my  opinion,  it  is  not  a question  of  alms,  but  of 
just  claims. 

I am  well  aware  that  it  may  be  no  easy  matter  to 
apply  a scale  of  payment  to  an  intellectual  body  like 
that  of  the  orchestra,  and  to  tax  it  in  thalers  and  gro- 
schen ; but  in  days  like  the  present,  when  so  much  is 
said  about  intellectual  qualifications,  there  is  one  thing 
absolutely  certain,  that  it  is  possible  for  justice  and  in- 
justice^ fair h ess  and  unfairness^  to  exist  in  the  remune- 
ration of  intellectual  services ; that  this  does  not  depend 
upon  the  good  will,  more  or  less,  or  on  the  favour  of 
those  who  pay,  but  that  a positive  right  exists,  which 
he  has  the  privilege  of  claiming  who  devotes  his  life  to 
an  intellectual  vocation,  and  can  therefore  legitimately 
demand  that  his  life  should  be  sustained,  if  he  carries 
out  his  calling  well  and  blamelessly.  This  the  orchestra 
here  do  in  the  most  admirable  manner ; and  under  such 
a conviction  I do,  in  my  inmost  heart,  consider  that 
the  salaries  fixed  in  the  contract  between  the  lessee  of 
the  theatre  and  the  orchestra  are  unjust.  Perhaps  they 
were  so  even  at  the  time  they  were  settled,  but  are 
now,  owing  to  the  change  in  the  times,  infinitely  more 
so ; the  evidence  of  which  is  so  clearly  set  forth  in  the 
first  memorial  of  the  orchestra,  that  I believe  only  a 
glance  at  it  is  necessary  to  prove  the  justice  of  my 
assertion. 

If  the  Corporation  be  also  of  this  opinion,  and  con- 
vinced of  the  unfairness  of  these  points,  the  question 
would  then  be,  in  how  far  it  is  possible  for  the  lessee  of 
the  theatre  to  comply  with  the  wishes  of  the  orchestra  * 


3i2 


MENDELSSOHN^S  LETTERS. 


if  by  bis  consent  to  increase  the  salaries  he  would  not 
become  bankrupt  himself  j and  whether,  in  endeavour- 
ing to  obtain  justice  for  the  orchestra,  injustice  might 
not  be  done  to  the  lessee  ? 

Three  things  may  form  a criterion  on  this  point, — the 
average  receipts  of  the  lessee  hitherto,  the  comparison 
between  other  theatrical  salaries  and  those  of  this  or- 
chestra, and,  lastly,  the  pay  of  other  G-erman  orchestras 
in  cities  of  the  same  standing  as  Leipzig. 

With  regard  to  the  receipts  of  the  lessee,  it  will  be 
difficult  to  obtain  exact  information.  In  spite  of  all  the 
official  documents  and  rendering  of  accounts,  I venture 
to  assert  that  there  is  not  a person  in  Leipzig  who  is 
thoroughly  acquainted  with  the  fact,  except  the  former 
lessees  themselves,  who  will  at  once  dechne  answering 
any  such  questions.  In  so  far  as  I have  seen  of  similar 
official  documents,  here  and  in  other  cities,  it  seems  an 
undeniable  truth  that,  in  an  undertaking  of  the  kind,  a 
yearly  additional  payment  of  two  thousand  thalers 
would  not  cause  the  speculation  to  become  a losing 
instead  of  a good  one.  This  is  evident  by  a glance  at 
the  variable  and  sometimes  enormous  salaries  of  the 
singers,  male  and  female,  for  whose  engagement  no 
theatre  entrejpreneur  would  grudge  an  outlay  hke  the 
above,  in  order  to  cast  greater  lustre  on  his  stage. 

These  salaries  also  furnish  a complete  answer  to  the 
second  point ; being  almost  everywhere  so  greatly  in- 
creased during  the  years  when  the  orchestra  here  have 
only  received  the  old  scale  of  payment,  that  a theatrical 
lessee  of  the  former  date  would  perhaps  also  have 
declared  that  such  an  amount  of  money  was  utterly 
irreconcilable  with  any  profits  to  himself  Singers 


ADDRESS  TO  THE  CORPORATION  OF  LEIPZIG.  313 

after  a certain  number  of  years,  deteriorate ; their 
places  must  be  supplied,  new  contracts  made,  and  thus 
they  can  obtain  for  themselves  that  justice  which  the 
members  of  the  orchestra  in  vain  demand.  Singers 
are  paid  in  Leipzig  at  the  same  rate  as  in  other  places  ; 
but  not  so  the  orchestra.  If  it  be  said,  singers  are  only 
selected  and  paid  according  to  the  requirements  and 
fashion  of  the  day,  whereas,  with  regard  to  the  orches- 
tra, it  is  so  in  a minor  degree,  for  whether  it  be  better 
or  worse  constituted  or  paid,  the  public  know  nothing, 
—then  this  is  an  additional  reason  for  my  writing  this 
letter;  for  I consider  it  my  duty,  and  that  of  every 
friend  of  music,  to  protest  against  such  a theory.  Just 
because  the  orchestra  is  not  an  article  of  luxury,  but 
the  most  necessary  and  important  basis  for  a theatre, — 
just  because  the  public  invariably  regard  with  more 
interest  articles  of  luxury  than  more  essential  things, — 
on  this  very  account,  it  is  a positive  duty  to  endeavour 
to  effect  that  what  is  legitimate  and  necessary  should 
not  be  disparaged  and  superseded  by  a love  of  glitter. 
Indeed,  this  was  why  the  Corporation  took  under  their 
protection  this  orchestra,  in  the  new  theatre  contracts. 
If,  however,  they  sanction  the  lessee  of  the  theatre 
making  a contract  with  the  orchestra,  and  permit  the 
old  and  obsolete  salaries  to  remain  as  they  are,  then 
such  protection  would  be  no  benefit,  but  rather  an 
injury  to  the  orchestra.  Things  would  thus  necessarily 
remain,  year  after  year,  in  a position  which  has  no 
parallel  in  any  German  city  of  the  same  rank  as  Leip- 
zig. 

This  leads  me  to  the  third  point.  It  has  been  said 
that  a comparison  of  the  salaries  here  with  those  in 
27 


314 


MENDELSSOHN  S LETTERS. 


other  towns  is  inadmissible.  But  how  is  it  possible  to 
arrive  in  a better  manner  at  a scale  of  justice  or  injus- 
tice, in  similar  payment  ? As  in  other  towns  orchestras 
are  better  paid,  as,  in  spite  of  this,  lessees  do  not 
become  bankrupt  (and  I believe  no  instance  was  ever 
known  of  a theatrical  manager  being  ruined  by  the  high 
salaries  of  an  orchestra),  as  the  same  pretensions  with 
regard  to  services  are  made  by  the  musicians  here  as 
elsewhere, — is  it  not  clear  from  all  this  that  the  same 
mode  of  acting  is  possible  here  as  elsewhere  ? The  pay 
which  the  orchestra  in  Frankfort-on-the-Main  receives 
from  the  theatre  alone  is  not  only  higher  than  it  would 
be  here  were  the  increase  in  question  granted,  but  it  is 
almost  without  exception  higher  than  it  is  here  for  the 
theatre^  concert^  and  church  music  combined ^ even  if  the 
demand  in  question  were  complied  with.  Should  not 
this  prove  that  the  prayer  of  the  orchestra  here  is  not 
unreasonable, — that  the  theatre  lessee  may  accede  to  it 
without  any  risk  ? Indeed,  may  not  a refusal  on  his 
part  lead  to  the  inference  that  this  city  considers  its 
own  musicians  inferior  to  those  of  other  towns  of  a 
similar  class?  And  yet  such  cannot  be  the  case,  for 
the  performances  of  our  orchestra  are  not  only  equal  to 
that  of  Frankfort,  but  to  those  of  every  other  G-erraan 
city ; indeed,  undeniably  superior  to  most  of  those  with 
which  I am  acquainted  I The  favourable  and  wide- 
spread musical  reputation  which  Leipzig  enjoys  through 
the  whole  of  G-ermany,  it  owes  entirely  and  solely  to 
this  orchestra,  the  members  of  which  must  get  on  as 
they  best  can,  in  the  most  sparing  and  scanty  manner. 
Such  a good  reputation  is  certainly  not  without  mate- 
rial advantage  for  the  town  of  Leipzig,  even  indepen- 


ADDRESS  TO  THE  CORPORATION  OF  LEIPZIG.  315 

dent  of  the  intellectual  benefit  to  art.  Shall,  then, 
those  individuals  to  whom  such  happy  results  are 
owing,  remain  in  a state  of  privation,  now  as  formerly, 
irrespective  of  these  services,  and  the  change  in  the 
times,  while  the  whole  community  thrives  by  their 
merits,  and  the  city  itself  derives  honour  and  profit 
from  them  ? 

I shall  only  add  a few  words  with  regard  to  the 
deputy  rule,  or  rather  misrule^  as  it  ought  more  properly 
to  be  called ; for  it  is  really  difficult  to  form  an  idea  of 
the  confusion  in  this  department,  without  knowing  it 
from  personal  experience,  which  I had  an  opportunity 
of  doing.  This  also  has  been  minutely  stated  in  former 
memorials,  and  I now  add  an  example  from  my  own 
knowledge.  In  the  concert  of  the  day  before  yesterday, 
the  clarionet  players  were  obliged  to  pay  a silver  thaler 
each  to  their  theatre  deputy,  so  that  each  of  them,  for 
his  services  at  the  rehearsal,  and  performance  in  the 
first  subscription  concert,  paid  eight  groschen.  It  may 
be  suggested  to  raise  the  prices  of  the  concert-tickets ; 
but  this  would  not  check  the  mischief.  A strict  rule 
as  to  deputies  can  alone  effect  this.  On  the  contrary. 
It  is  very  desirable  that  the  scale  adopted  for  payment 
of  the  concerts  should  equally  be  applied  to  the  pay- 
ment of  extra  performances  in  the  theatre,  which 
demand  the  same  amount  of  time  and  energy. 

This  brings  me  to  the  last  point  on  which  I wish  to 
touch.  If  there  be  the  greatest  difficulties  in  the  way 
of  repairing  these  evils,  what  difficulty  can  there  be  in 
greatly  raising  the  former  fixed  salaries  for  extra  per- 
formances ? It  is  notorious  that  they  are  in  no  degree 
in  proportion  to  the  increased  receipts  of  the  lessee: 


316 


Mendelssohn’s  letters. 


they  afe  not  in  proportion  to  the  remuneration  foi 
other  extra  services,  such  as  concerts,  church  music, 
etc. ; they  are  not  even  in  proportion  to  the  set  price 
fixed  for  the  town  musicians  for  balls,  weddings,  and 
so  forth.  I am  perfectly  convinced  that  such  an  aug- 
mentation could  be  effected  without  difficulty,  and 
without  any  injury  to  the  theatre  lessee,  and  a portion 
of  the  just  complaints  of  the  orchestra  would  thus  be 
obviated.  May  they  all  meet  with  that  consideration 
to  which  their  equity  and  justice  entitle  them ! 

In  conclusion,  I beg  forgiveness  from  the  Corporation 
for  the  great  liberty  which  I have  taken  in  writing  this 
letter ; it  regards  a matter  which  does  not  personally 
concern  me,  and  from  which  neither  evil  nor  good  can 
accrue  to  me,  and  which  only  affects  me  in  so  far  as  it 
relates  to  the  interests  of  artists  whom  I so  highly  prize 
and  esteem  ; it  is  of  importance  to  art  also  in  this  city ; 
and  I certainly  can  never  see  with  calmness  or  indiffer- 
ence the  increasing  or  decreasing  reputation  of  such 
an  artistic  institution  as  Leipzig  possesses  in  this 
admirable  orchestra.  May  my  words  accordingly  prove 
the  heartfelt  love  and  esteem  with  which,  so  long  as  I 
live,  I must  ever  regard  all  that  affects  the  honour  of 
Leipzig  in  her  artistic  and  musical  sphere. — I am 
always  the  devoted  servant  of  the  Corporation, 

Felix  Mendelssohn  Bartholdy. 


PETITION  TO  THE  KINO  OF  PRUSSIA. 


317 


To  THE  King  of  Prussia. 

Berlin,  1844. 

Your  Majesty, 

I venture  in  these  lines  to  bring  before  you  a peti- 
tion v^hich  I have  much  at  heart. 

Among  the  vast  number  of  compositions  sent  to  me 
from  musicians  here  and  in  other  places,  I lately  re- 
ceived some  works  of  a young  man  of  the  name  of 

Gr , in  which  I perceived  such  unmistakable  talent 

and  such  genuine  musical  feeling  that  they  seemed  to 
me  like  an  oasis  in  the  desert.  They  consisted  of  a set 
of  songs,  and  a grand  piece  of  music  for  Grood  Friday, 
which  (each  in  its  own  peculiar  style)  displayed  genu- 
ine conceptions,  and  a true  artistic  nature.  Indeed, 
the  sacred  music  inspires  me  with  a strong  hope  that 
the  composer  may  accomplish  something  really  import- 
ant in  this  sphere.  Nothing  is  wanting  for  the  full 
development  of  his  talents  save  that  he  should  reside 
for  some  time  in  a large  city,  in  order  to  hear  music 
and  to  become  acquainted  with  musicians;  for  since 
his  youth  he  has  for  the  last  eight  years  been  a teacher 
in  the  country,  and  during  all  that  long  period  has 
lived  entirely  apart  from  music,  with  no  one  but  him- 
self to  rely  on. 

His  most  anxious  wish  is,  therefore,  to  come  to  Ber- 
lin, there  to  pursue  his  musical  studies  and  composi- 
tions, and  to  cultivate  his  talents  for  future  practical 
efficacy.  But  for  the  fulfilment  of  this  wish  all  pecu- 
niary resoufces  are  wanting,  and  gladly  as  I would  lend 
him  a helping  hand  to  attain  his  aim  in  a musical  point 
of  view,  as  far  as  my  ability  goes,  and  willing  as  he  is 
27* 


318 


Mendelssohn’s  letters. 


by  his  own  labours  in  giving  lessons  to  endeavour  to 
gain  his  own  livelihood,  still  this  latter  resource  is 
always  very  precarious,  and  especially  just  at  first, 
accompanied  by  so  many  difiiculties,  that  I could 
scarcely  advise  him  to  give  up  the  situation  of  tutor,  by 
which  he  now  gains  his  living. 

If  your  Majesty  were  graciously  pleased  to  furnish 
the  young  man  with  the  means  of  residing  here,  where 
he  could  hear  and  practise  music  till  he  could  become 
familiar  with  the  musical  world,  from  which  he  has 
been  so  long  estranged,  then  all  obstacles  would  be  re- 
moved, and  your  Majesty  have  made  one  happy  man 
the  more. 

I believe  if  he  were  allowed  for  two  years  two  hun- 
dred thalers  each  year,  this  would  sufi&ce,  with  his 
modest  ideas  and  simple  mode  of  living,  to  enable  him 
to  accomplish  the  visit  to  Berlin  he  so  eagerly  desires, 
and,  along  with  what  he  could  and  would  make  by  his 
own  industry,  secure  his  existence  in  the  mean  time. 

His  Excellency  Herr  von  Massow,  to  whom  I had  an 
opportunity  of  detailing  personally  the  circumstances 
of  the  young  man,  encouraged  me  to  approach  your 
Majesty  with  this  petition.  May,  in  any  event,  my 
presumption  be  forgiven.  The  fulfilment  of  my  request 
will  be  a fresh  reason,  among  many  others,  to  feel  the 
most  heartfelt  gratitude  and  thankfulness  towards  your 
Majesty,  and  I need  not  say  that  such  a fulfilment 
would  make  the  young  man  happy  for  life.* 


♦ Mendelssohn’s  request  was  graciously  granted  by  the  King. 


LETTER  FROM  BUNSEN. 


319 


From  WirMich  Gelieimrath  Ritter  Bunsen^  to  Felix  lfe»- 
delssohn  Bartlioldy^  Franhfort-on-the-Mam.'^ 

Berlin,  Sunday  morning,  April  28th,  1844. 

My  dear  and  esteemed  Friend, 

I hope  that  these  lines  may  find  you  free  fi:*om  all 
cares  and  anxieties.  I send  them  to  you  in  a.  kindly 
spirit  for  the  sake  of  the  cause  and  yourself. 

You  have  hurt  the  feelings  of  the  King  by  your  re- 
fusal to  compose  music  for  the  “ Eumenides.’’  I was 
with  him  when  G-raf  Eedern  gave  him  back  the  book 
with  this  decision.  As  I saw  tliis  touched  the  King 
very  nearly,  though  he  was  not  in  the  least  excited^  I 
remarked  that  perhaps  you  conceived  that  the  whole 
trilogy  was  to  be  set  to  music.  His  Majesty  answered, 
That  would  be  all  the  better,  but  it  could  not  prevent 
Mendelssohn  composing  for  the  ^Eumenides,’  which, 
in  itself,  may  be  regarded  as  a splendid  whole.”  I really 
did  not  know  what  to  say,  and  I confess  to  you  that 
your  answer  has  deeply  grieved  myself.  The  affair, 
too,  is  much  talked  of  here^  and  minutely  discussed.  In 
this  good  town  it  is  thought  very  wrong  ” in  you  to 
go  to  England  instead  of  composing  for  the  King.  The 
King  himself  is  quite  determined  not  to  let  the  affair 
drop.  It  has  been  suggested  to  him  to  intrust  the  work 
to  another  artist,  who,  it  seems,  has  promised  to  un- 
dertake the  affair  at  once.  You  neither  must  nor  can 
permit  this ; you  neither  can  nor  will  annoy  the  King. 
I also  heard  Tieck  speaking  of  the  affair  the  day  before 


* The  letter  of  Herr  von  Bunsen  to  Mendelssohn  is  Inserted  here,  i» 
order  to  render  the  following  reply  intelligible. 


320 


Mendelssohn’s  letters. 


yesterday,  who  began  to  talk  of  it  when  I was  with 
him.  The  King  sent  him  also  a message  on  the  subject. 
You  can  understand  that  his  Majesty,  taking  into  con- 
sideration the  short  span  of  life  remaining  to  the  great 
Chorodidascalos^  and  knowing  that  he  alone  can  put  it 
on  the  stage  here,  is  somewhat  impatient.  Tieck  shares 
the  universal  opinion  about  you  here,  although  with 
the  most  entire  recognition  of  your  character  and  of 
your  genius.  I may  also  further  say  to  you,  quite  in 
confidence,  that  your  declining  to  compose  some  songs 
for  “ Wie  es  euch  gefallt  ” has  left  a painful  impression 
on  Tieck.  and  elsewhere;  he  is  of  opinion  that  your 
reason  for  this,  “ to  allow  some  time  to  elapse  between 
this  and  the  Midsummer  Night’s  Dream.”  is  a very  in- 
sufficient one ; for  the  more  and  the  oftener  the  public 
are  offered  good  food,  the  sooner  will  they  turn  away 
from  the  wretched  stuff  on  which  they  are  now 
nourished. 

But  this  is  immaterial  compared  with  the  chief  point. 

Eejoice  me  soon  by  the  intelligence  that  the  whole 
thing  is  a misunderstanding,  and  that  you  are  willing 
to  compose  music  for  the  “Eumenides.”  Tieck  him- 
self says  that  the  choruses  might  be  here  and  there 
shortened ; a trilogy,  too,  might  be  accomplished  with 
great  curtailments.  But  the  “Eumenides,”  as  a whole, 
with  any  curtailments  which  may  appear  advisable  to 
you,  must  first  be  separately  performed.  What  a glo- 
rious subject!  What  an  unparalleled  effect!  Your 
•^Antigone”  choruses  are  making  the  tour  of  Europe; 
those  of  ^schylus  would  do  the  same.  You  will  aid 
in  establishing  a new  phase  in  art.  Reflect  that  the 
King  loves  you;  that  your  refusal  affected  him  very 


REPLY  TO  BUNSEN. 


321 


painfully ; that  after  having  endured  so  much  mis- 
apprehension, so  many  bitter  disappointments,  so  many 
obstacles  in  the  noblest  paths  of  his  reign,  he  is  not 
prepared  to  meet  with  difficulties  in  this  quarter  also. 

Et  tu  Brute  fili.”  Pour  out  your  heart  to  me  as  I 
have  done  to  you.  You  know  that  you  may  depend 
upon  me.  We  must  all  assist  in  supporting  this  noble 
Prince  in  his  good  and  grand  ideas.  The  world  re- 
quires new  elements  of  life ; happy  he  who  can  help  to 
create  them ! — Unchangeably  your  faithful  friend, 

Bunsen. 


To  THE  WiRKLICH  GtEHEIMRATH  B UNSEN. 

Frankfort-a.-M.,  May  4th,  1844. 

Your  Excellency’s  kind  letter  I received  here  when 
on  the  point  of  setting  off  for  England.  First  of  all,  I 
hasten  to  thank  you  in  the  most  heartfelt  manner  for 
this  fresh  proof  of  your  friendly  feelings  towards  my- 
self. I wish  I may  one  day  be  able  to  express  more 
clearly  my  gratitude  for  all  your  kindness  and  friend- 
ship ! I know  how  to  appreciate  these  to  the  fullest 
extent,  and  am  proud  of  them,  as  the  best  and  dearest 
which  can  ever  be  my  portion  in  this  world. 

To  all  those  who  have  discussed  with  me  the  per- 
formances of  -^Eschylus’s  “Eumenides,”  to  the  King,  to 
Graf  Redern,  and  more  particularly  to  Geheimrath 
Tieck,  I have  declared  that  I consider  this  representa- 
tion, and,  above  all,  the  composition  of  the  choruses, 
a most  difficult  and  perhaps  impracticable  problem,  but 


322 


Mendelssohn’s  letters. 


that  T would  nevertheless  mahe  the  attempt  to  solve  it.  I 
asked  Herr  Geheimratli  Tieck  what  time  was  allowed 
me  to  make  my  decision ; whether  my  attempt  would 
be  considered  by  the  King  worthy  of  being  performed, 
or  if  it  were  likely  to  be  permitted  to  rest  in  my  desk. 
He  answered  me  that  the  representation  could  only 
take  place  in  the  large  Opera-House  ; that  pieces  of  this 
kind  could  not  be  produced  in  small  localities ; this  was 
a very  different  affair  from  the  “Antigone,”  etc.,  and  as 
the  opening  of  the  Opera-House  was  fixed  for  the  15th 
of  December,  it  would  be  time  enough  if  I occupied 
myself  with  the  music  during  my  stay  in  England,  or 
after  my  return  thence.  Moreover,  it  was  signified  to 
me  that  in  the  event  of  my  not  undertaking  the  com- 
mission, some  other  composer  would  be  selected.  In 
accordance  with  truth  I was  obliged  to  answer  that  it 
would  certainly  be  more  agreeable  to  me  if  another 
person  were  chosen  for  this  purpose,  as  in  my  eyes  the 
difficulties  were  immense ; but  I always  and  every- 
where declared  my  entire  readiness  to  attempt  the  com- 
position, adding  that  my  decision  on  the  point  should 
at  all  events  be  made  early  enough  to  give  ample  time 
to  any  other  composer  who  could  more  easily  solve  the 
difficulties,  so  that  no  obstacles  should  be  thrown  in  the 
way  on  my  side. 

What  your  Excellency  therefore  has  written  to  me . 
about  this  affair,  comes  upon  me  the  more  unexpectedly 
and  vexatiously  since  Herr  Geheimrath  Tieck,  in  the 
conversations  we  held  together  on  the  subject,  tho- 
roughly agreed  in  my  views  of  the  difficulties  attending 
its  execution, — acknowledging  them  in  his  turn  to  be 
almost  insuperable ; and  yet,  to  his  express  question, 


REPLY  TO  BUNSEN. 


323 


whether  I would  not  undertake  the  composition  of  the 
choruses,  he  received  from  me,  agreeably  to  the  above- 
mentioned  explanations,  the  following  answer, — that  I 
was,  on  the  contrary^  ready  to  make  the  attempt^  and  I 
should  certainly  not  he  any  hindrance  in  the  matter. 
Indeed,  with  a view  to  facilitate  the  idea,  I suggested 
to  him  that  some  of  the  choruses,  which  appeared  to  me 
unsuitable,  should  be  curtailed,  a proposal  which,  as  you 
write  to  me,  he  fully  concurs  in. 

I have  always  spoken  only  of  an  attempt,  and  must 
now  do  the  same.  My  not  being  able  at  once  to  accept 
and  consent  to  the  request  as  I would  to  any  other,  is 
partly  owing  to  the  novel  nature  and  extraordinary 
difficulty  of  the  piece  itself  (I  can  appeal  to  the  judg- 
ment of  any  musician  as  to  the  fact),  and  partly  to  the 
high  estimation  in  which  I hold  the  refined  artistic 
feeling  of  the  King, — to  whom  it  is  impossible  to  offer 
indiscriminately  failures  and  successes, — and,  lastly, 
owing  to  a certain  duty  that  I owe  to  myself,  which 
makes  me  unwilling  to  undertake  music  in  the  success 
of  which  I,  at  least  to  a considerable  degree,  place  no 
faith.  I thought  I might  hope  that  this  should  not 
cause  my  good-will  to  be  doubted,  which  I have  already 
proved  in  the  course  of  this  year  by  the  accomplish- 
ment of  various  very  difficult  tasks,  which  were  de- 
manded in  the  shortest  time. 

The  key  of  the  riddle  seems  to  me  to  be,  that  my 
views  as  to  the  difficult  nature  of  the  representation 
are  shared  by  many  who  may  probably  have  wished  to 
convince  the  King  also  of  the  fact;  for  this  purpose 
they  have  selected  me  as  the  origin  of  these  difficulties, 
which  I am  not,  and  never  will  be ; they  lie,  unluckily, 


324 


Mendelssohn’s  letters. 


far  more  in  the  piece  itself.  And  now  permit  me  a few 
words  on  this  point  also. 

Because  I owe  so  much  gratitude  to  the  King, — be- 
cause I honour  him  in  the  depths  of  my  soul  as  an 
admirable,  noble  prince  and  man, — on  this  very  account 
I think  that  all  I do  by  his  command  should  be  done 
with  a good  conscience  and  in  a cheerful  spirit.  If  I 
were  to  accept  his  ideas  without  thatj  were  I to  produce 
them  before  people  without  being  myself  really  and 
truly  inspired  by  them,  were  I to  use  his  commands  as 
a cloak  for  my  failure,  and,  further,  to  represent  my 
failure  as  the  result  of  his  ideas, — then  I should  utterly 
ruin  these  ideas,  and  then  I should  utterly  ruin  the 
good  opinion  which  I trust  he  still  has  of  me ; then  he 
would  have  a right  to  apply  to  me  the  words,  “ Et  tu 
Brute.”  Eor  thus  it  appears  to  me  most  of  those  seem 
to  act  who  entail  on  him,  as  you  say,  so  many  obstacles 
and  deceptions,  and  I never  will  join  such  “ assassins.” 

I will  always  obey  the  commands  of  a sovereign  so 
beloved  by  me,  even  at  the  sacrifice  of  my  personal 
wishes  and  advantage.  If  I find  I cannot  do  so  with  a 
good  artistic  conscience ^ I must  endeavour  candidly  to 
state  my  scruples  or  my  incapacity,  and  if  that  does  not 
suffice,  then  I must  go.  This  may  sound  absurd  in  the 
mouth  of  a musician,  but  shall  I not  feel  duty  as  much 
in  my  position  as  others  do  in  theirs  ? In  an  occurrence 
so  personally  important  to  me,  shall  I not  follow  the 
dictates  of  integrity  and  truth,  as  I have  striven  to  do 
all  my  life  ? 

After  this  fresh  experience,  I fear  even  what  I ver- 
bally mentioned  to  your  Excellency  already, — that  my 
stay  on  such  slippery  ground,  and  under  such  perplexing 


PRODUCTION  OF  ANTIOONE  IN  PARIS. 


325 


circumstances,  is  impossible.  But  bj  this  mode  of  act- 
ing, and  this  alone^  can  I hope,  independently  of  mo- 
mentary impressions,  to  preserve  the  good  opinion  of 
his  Majesty,  which  is  more  important  to  me  than  all  the 
rest ; indeed,  it  is  only  thus  that  I can  hope  really  to 
serve  the  King  and  his  ideas.  I cannot  be  an  indiffer- 
ent, doubtful,  or  secretly  discontented  servant  to  such 
a monarch ; he  could  not  employ  me  thus^  and  thus  I 
would  not  only  be  useless  to  him,  but  sacrifice  myself. 


To  Julius  Stern,  Paris, 

{Now  Professor  in  Berlin.) 

London,  May  27th,  1844. 

Dear  Herr  Stern, 

You  well  know  the  very  great  pleasure  your  kind 
letter  was  sure  to  cause  me ; at  the  same  time  I was 
perfectly  aware  that  in  the  first  moments  after  the 
representation*  you  would  view  in  far  too  favourable  a 
light,  and  far  too  highly  prize,  my  music  and  its  success. 
But  that  you  should  do  so,  and  feel  yourself  thus 
rewarded  for  the  many  and  great  efforts  which  this 
representation  has  cost  you,  is  indeed  to  me  a source 
of  the  highest  gratification.  Accept  my  most  cordial 
thanks.  May  I,  by  better  works,  deserve  your  too 
partial  opinion ! May  all  my  works  find  friends  as 
loving  to  adopt  them,  and  to  bring  them  to  a satisfac- 
tory execution  ! May  this  also  be  the  case  at  all  times 

* Herr  Stern  had  accomplished  the  production  of  “ Antigone,”  in  the 
Odeon  Theatre,  in  Paris. 


28 


326  Mendelssohn’s  letters. 

with  your  own  works  * I cannot  desire  anything  better 
for  you. 

I am  also  exceedingly  indebted  to  you  for  having 
been  so  kind  as  to  thank  the  performers  in  my  name. 
According  to  your  suggestion,  I am  writing  some  lines 
to  Herr  Morel,  who  directed  the  music,  requesting  him 
to  be  assured  of  my  gratitude,  and  to  express  this  also 
to  Herr  Boccage  ; but  do  not  be  displeased  with  me  if 
I decline  taking  the  other  hint, — as  to  making  a present 
to  the  leading  performers.  This  would  be  contrary  to 
the  fixed  principles  which  I adopted  at  the  beginning 
of  my  musical  career, — never  in  any  way  to  mix  up  my 
personal  position  with  my  musical  one,  or  ever  to 
improve  the  latter  by  the  influence  of  the  former,  or  in 
any  manner  to  bribe  public  or  private  opinion  with 
regard  to  me,  or  even  attempt  to  strengthen  it.  Pre- 
cisely owing  to  the  heartfelt  gratitude  I entertain  to- 
wards all  those  who  interest  themselves  in  my  music, 
it  would  be  impossible  for  me  to  follow  the  fashion  of 
giving  similar  presents,  without  for  ever  embittering  for 
the  future  the  gratitude  and  the  joy  emanating  from  it. 
And  although  this  fashion  may  have  been  introduced 
by  great  authorities,  I must  always  remain  true  to  my- 
self, and  to  what  I deem  to  be  right  and  feel  to  be 
right : so  you  must  excuse  me  for  not  complying  with 
this  practice.*  I trust  that  you  will  not  be  angry  with 
me,  and  rather  defend  me  against  those  who  may  attack 
me  on  this  account.  You  will  acknowledge  that  every 
man  must  fix  certain  rules  by  which  he  is  to  live  and 
act,  and  will  not,  therefore,  misconstrue  my  adhering 
to  mine.  My  hearty  greeting  to  all  my  friends,  and 


* See  also  the  Letter  to  Dehn,  of  the  28th  of  October,  1841. 


ENJOYMENT  OF  COUNTRY  LIFE. 


327 


may  we  have  a happy  meeting  in  our  Fatherland, — 
Your  devoted 

Felix  Mendelssohn  Bartholdy. 


To  Carl  Klingemann,  London. 

Soden,  near  Frankfort-a.-M  , July  17th,  1844. 

My  dearest  Friend, 

I found  all  my  family  well,  and  we  had  a joyful 
meeting  when  I arrived  here  on  Saturday,  in  health 
and  happiness,  after  a very  rapid  journey.  Cecile  looks 
so  well  again, — tanned  by  the  sun,  but  without  the 
least  trace  of  her  former  indisposition ; my  first  glance 
told  this  when  I came  into  the  room,  but  to  this  day  I 
cannot  cease  rejoicing  afresh  every  time  that  I look  at 
her.  The  children  are  as  brown  as  Moors,  and  play  all 
day  long  in  the  garden.  I employed  yesterday  and  the 
day  before  entirely  in  recovering  from  my  great  fatigue, 
in  sleeping  and  eating ; I did  not  a little  in  that  way, 
and  so  I am  myself  again  now,  and  I take  one  of  the 
sheets  of  paper  that  Cecile  painted  for  me  to  write  to 
you.  Once  more  I thank  you  from  my  very  heart  for 
the  past  happy  time, — all  that  is  good  and  imperishable 
in  it  comes  from  you ; so  I feel  most  grateful  to  you, 
and  pray  continue  to  love  me,  as  I shall  you  so  long  as 
I five. 

I am  sitting  here  at  the  open  window,  looking  into 
the  garden  at  the  children,  who  are  playing  with  their 
“dear  Johann.”*  The  omnibus  to  Konigstein  passes 


* Mendelssohn’s  servant. 


328 


Mendelssohn’s  letters. 


this  twice  every  day.  We  have  early  strawberries  for 
breakfast,  at  two  we  dine,  have  supper  at  half-past 
eight  in  the  evening,  and  by  ten  we  are  all  asleep. 
Hoffmann  von  Fallersleben  is  here,  and  paid  me  a visit 
yesterday.  All  those  who  are  entitled  to  do  so,  wear  a 
bit  of  ribbon  in  their  button-holes,  and  are  called 
“ Geheimrath all  the  world  talking  of  Prussia  and 
blaming  her, — in  fact,  they  speak  of  nothing  else.  The 
country  is  covered  with  pear-trees  and  apple-trees,  so 
heavy  with  fruit  that  they  are  all  propped  up  ; then  the 
blue  hills,  and  the  windings  of  the  Maine  and  the 
Rhine;  the  confectioner,  from  whom  you  can  buy 
thread  and  shirt-buttons ; the  well-spring  Ho.  18,  which 
is  also  called  the  Champagne  Spring ; the  Herr  Medici- 
nalrath  Thilenius ; the  list  of  visitors,  which  comes  out 
every  Saturday,  as  “ Punch  ” does  with  you ; the  walk- 
ing-post, who,  before  going  to  Frankfort,  calls  as  he 
passes  to  ask  what  we  want,  and  next  day  brings  me 
my  linen  back ; the  women  who  sell  cherries,  with 
whom  my  little  four-year-old  Paul  makes  a bargain,  or 
sends  them  away,  just  as  he  pleases;  above  all,  the 
pure  Rhenish  air, — this  is  familiar  to  all,  and  I call  it 
Germany  I 


To  Paul  Mendelssohn  Bartholdy. 

Soden,  July  19th,  1844, 

My  dear  Brother, 

I am  once  more  on  German  ground  and  soil ; well, 
fresh,  and  happy  at  home,  having  found  all  my  family 
in  the  best  health  possible ; and  we  now  pass  our  days 
pleasantly  here,  in  this  most  lovely  country. 


TWO  months’  visit  to  ENGLAND.  329 

My  visit  to  England  wslb  glorious;  I never  was 
anywhere  received  with  such  universal  kindness  as  on 
this  occasion,  and  I had  more  music  in  these  two 
months  than  elsewhere  in  two  years.  My  A minor 
symphony  twice,  the  Midsummer  Night’s  Dream  ” 
three  times,  “ St.  Paul  ” twice,  the  trio  twice ; the  last 
evening  of  my  stay  in  London  the  “ Walpurgis  Nacht,” 
with  quite  wonderful  applause ; besides  these,  the 
variations  for  two  performers  on  the  piano,  the  quar- 
tett  twice,  the  D major  and  E minor  quartett  twice, 
various  songs  without  words,  Bach’s  D minor  concerto 
twice,  and  Beethoven’s  G-  major  concerto.  These  are 
some  of  the  pieces  which  I played  in  public.  Then,  in 
addition,  the  direction  of  all  the  Philharmonic  and  other 
concerts,  the  innumerable  parties,  the  publication  of 
Israel  in  Egypt,”  which  I worked  at  for  the  Handel 
Society,  and  revised  from  the  manuscript ; and  in  the 
midst  of  aU  this  the  composition  of  the  overture  to 
Athalia,”  which,  being  excessively  troublesome,  was 
no  slight  task.* 

You  can  gather  from  this  how  gay  and  stirring  my 
life  was.  My  chief  aim — to  do  a service  to  the  Philhar- 
monic Society — succeeded  beyond  all  expectation;  it 
is  the  universal  opinion  that  they  have  not  had  such  a 
season  for  years  past.  This,  to  be  sure,  does  not  cure  the 
radical  evil  which  I this  time  amply  experienced,  and 
which  must  prevent  the  Society  continuing  to  prosper, 


* Mendelssohn  was  desired  by  the  Berlin  Theatre  Intendancy  tc 
compose  this  overture  as  quickly  as  possible  (which  he  consequently  did 
in  a few  days),  because  Athalia”  was  to  be  performed  immediately. 
The  performance,  however,  did  not  take  place  till  the  1st  of  December 
1845. 


330 


Mendelssohn’s  letters. 


— the  canker  in  its  constitution, — musical  rotten  bo^ 
roughs^  etc.  But  more  of  this  and  many  other  points 
when  wfe  meet.  One  thing  I must  also  mention,  which 
I regretted  chiefly  on  your  account.  I was  invited  to 
go  to  Dublin,  to  be  made  a Doctor  by  the  University 
there,  and  Morgan  John  O’Connell  wished  to  give  me  a 
letter  to  his  uncle  in  prison  ; but  I could  not  accept  it, 
on  account  of  the  short  time,  and  the  intense  excite- 
ment of  such  a journey,  in  five  days.  The  thought  of 
the  great  pleasure  you  would  have  felt  in  my  doing  so 
was  constantly  present  with  me,  and  I gave  up  the 
idea  with  sincere  regret.  What  a strange  contrast  this 
quiet  little  spot  forms  to  all  the  previous  immense  ex- 
citement ! Here  a walk  of  ten  minutes  brings  you  to 
the  heights  of  the  Taunus,  with  a view  over  the  valleys 
of  the  Main  and  Ehine,  as  far  as  Frankfort,  Worms, 
and  Mayence.  Here  I can  look  all  around  for  days  and 
days,  and  require  nothing  farther,  and  yet  do  as  much, 
or,  in  fact,  more,  than  in  the  midst  of  the  excitement 
in  London. — Your 

Felix. 


To  Fanny  Hensel,  Berlin. 

Soden,  July  25th,  1844. 

If  you  refilse  to  come  to  Soden  for  a fortnight,  to 
enjoy  with  me  the  incredible  fascinations  of  this  coun- 
try and  locality,  aU  my  descriptions  are  of  no  avail; 
and  alas ! I know  too  well  that  you  will  not  come.  I 
therefore  spare  you  many  descriptions.  My  family  im- 
prove every  day  in  health,  while  I lie  under  apple-trees 


RELAXATION. 


331 


and  huge  oaks.  In  the  latter  case,  I request  the  swine- 
herd to  drive  his  animals  under  some  other  tree,  not  to 
disturb  me  (this  happened  yesterday) ; further,  I eat 
strawberries  with  - my  coffee,  at  dinner  and  supper ; I 
drink  the  waters  of  the  Asmannshauser  spring,  rise  at 
six  o’clock,  and  yet  sleep  nine  hours  and  a half  (pray, 
Fanny,  at  what  hour  do  I go  to  bed  ?).  I visit  all  the 
wondrously  beautiful  environs,  I generally  meet  Herr 
B.  in  the  most  romantic  spot  of  all  (happened  yester- 
day), who  gives  me  the  latest  and  best  report  of  you 
all,  and  addresses  me  as  G-eneral  Music  Director,  which 
sounds  as  strange  here  as  Oberursel,  and  Lorschbach, 
and  Schneidheim  would  to  you.  Then  towards  evening 
I had  visits  from  Lenau,  and  Hoffmann  von  Fallers- 
leben,  and  Freiligrath,  when  we  stroll  through  the  fields 
for  a quarter  of  an  hour  near  home,  and  find  fault  with 
the  system  of  the  world,  utter  prophecies  about  the 
weather,  and  are  unable  to  say  what  England  is  pre- 
pared to  do  in  the  future.  Further,  I sketch  busily, 
and  compose  still  more  busily.  (A  propoSj  look  for  the 
organ  piece  in  A major,  that  I composed  for  your  wed- 
ding, and  wrote  out  in  Wales,  and  send  it  to  me  here 
immediately ; you'  shall  positively  have  it  back,  but  I 
require  it.  I have  promised  an  English  publisher  to 
furnish  him  with  a whole  book  of  organ  pieces,  and  as 
I was  writing  out  one  after  another,  that  former  one 
recurred  to  me.  I like  the  beginning,  but  detest  the 
middle,  and  am  rewriting  it  with  another  choral  fugue ; 
but  should  like  to  compare  it  with  the  original,  so  pray 
send  it  here.)  Further,  I must  unluckily  go  to-morrow 
to  Zweibrucken,*  and  I don’t  feel  much  disposed  for 


* To  direct  the  musical  festival  there. 


332 


Mendelssohn’s  lettehs. 


this;  still,  there  is  first-rate  wine  at  Durkheim  (as 
credible  witnesses  inform  me),  and  I hear  the  country 
is  very  beautiful,  and  to-morrow  week  (Grod  willing)  I 
shall  be  here  again,  when  I shall  once  more  lie  under 
the  apple-trees,  etc.,  dal  segno.  Ah  I if  this  could  go  on 
for  ever  I 

Jesting  apart,  the  contrast  of  these  days  with  my 
stay  in  England  is  so  remarkable,  that  I can  never  for- 
get it.  The  previous  three  weeks  not  a single  hour  un- 
occupied, and  here  the  whole  of  the  bright  days  free, 
without  an  employment  of  any  kind,  except  what  I 
choose  for  myself  (which  is  the  sole  fruitful  and  profitable 
kind),  and  what  is  not  done  to-day  is  done  to-morrow, 
and  there  is  leisure  for  everything.  In  England  this 
time,  it  was  indeed  wonderful ; but  I must  describe  to 
you  when  we  meet  each  concert  there,  and  each 
bramble-bush  here. 

Now,  tell  me  what  you  are  doing,  and  Ae,  and  all  of 
you.  It  is  high  time  that  Sebastian*  should  write  me 
a letter.  Eead  him  these  lines  from  his  uncle  (no  other 
part  of  the  letter ; he  ought  to  think  it  contained  some- 
thing worth  reading),  and  do  really  make  him  write  to 
me.  But  I stipulate  beforehand,  that  none  of  you  are 
to  read  his  letter,  or  he  would  be  on  ceremony,  and 
write  in  a fine  style,  or  even  write  first  a rough  copy. 

Farewell,  dear  Sister ; may  we  soon  meet  again.  Do 
not  forget  the  piece  for  the  organ,  and  still  less  its  au 
thor ; forget,  however,  the  stupidity  of  this  letter,  and 
that  I am  such  a lazy  correspondent. — Your 

Felix. 


* The  son  of  his  sister  Fanny. 


EXCURSION  TO  WIESBADEN. 


333 


To  Fanny  Hensel,  Berlin. 

Soden,  August  1844. 

Look  again  in  the  music  shelves,  in  the  compartment 
where  there  is  a great  deal  of  loose  music  lying;  among 
it  you  will  find  an  open  red  portfolio,  which  contains 
a quantity  of  my  unbound  manuscript  music — songs, 
pianoforte  pieces,  printed  and  unprinted;  there  you  will 
positively  find  the  organ  piece  in  A major.  It  is  just 
possible  that  I may  in  so  far  be  mistaken ; that  it  is  in 
a hound  music-book  which  hes  in  “ my  compartment,” 
and  in  which  many  similar  pieces  are  bound  together. 
I found  the  piece,  however,  in  one  of  the  two  last 
winter,  and  stans  pede  in  uno  (Sebastian  will  explain 
this)  looked  through  it,  marvelled  at  the  odious  middle 
part,  and  also  at  the  charming  commencement  (between 
ourselves,  all  from  modesty).  Now,  pray  search  dili- 
gently, and  send  it  off  to  Soden  as  soon  as  you  find  it. 
I shall  laugh  heartily  if,  by  describing  to  you  at  the 
distance  of  Soden  where  the  piece  is,  you  find  it.  I 
must  tease  you  about  this  for  the  rest  of  my  life. 

I am  going  to  make  an  expedition  on  foot  to  Wies- 
baden to-morrow,  to  visit  Uncle  Joseph;  and  the  day 
after  to  Hamburg,  also  on  foot,  to  attend  Dohler’s  con- 
cert. Prume  is  to  call  for  me,  and  we  are  to  go 
together.  I heard  Ddhler  and  Piatti  in  their  last  con- 
cert in  London,  and  clapped  and  shouted  for  them  ; and 
now  I mean  to  do  the  same  at  Hamburg,  which  will  be 
diverting  enough.  The  day  before  yesterday  I was  at 
Eppstein,  where  there  was  a new  organ  and  a church 
festival,  and  where  the  Vocal  Associations  of  Frank* 


334 


Mendelssohn’s  letters. 


fort,  Wiesbaden,  and  Mayence  offered  to  sing,  and  were 
present;  but  a letter  came  from  the  Amtmann  in 
Kdnigstein  forbidding  them  to  sing,  so  they  set  off,  and 
went  to  Hofheim  (do  you  know  the  white  chapel, 
which  is  visible  in  the  whole  country  round  ? Paul 
will  tell  you  about  it),  and  there  they  sang.  Towards 
evening,  as  I was  driving  quietly  with  the  ladies  and 
all  the  children  on  the  high-road  through  Hofheim,  we 
saw  heads  innumerable  peeping  out  of  the  windows  of 
the  inn, — all,  T suspect,  more  or  less  tipsy, — shouting 
out  loud  vivafs  to  me.  The  ladies  wished  to  stop  there 
to  have  some  coffee,  but  I opposed  this  strongly,  so  we 
ate  pound-cake  in  the  carriage. 

But  I must  now  tell  you  of  my  works  ; there  is  little 
enough  to  say  about  them  as  yet.  With  the  exception 
of  five  great  organ  pieces,  and  three  little  songs, 
nothing  is  finished ; the  symphony  makes  but  slow 
progress ; I have  resumed  a Psalm.  If  I could  only 
continue  to  live  during  half  a year  as  I have  done  here 
for  a fortnight  past,  what  might  I not  accomplish? 
But  the  regulation  and  direction  of  so  many  concerts, 
and  attending  others,  is  no  joke,  and  nothing  is  gained 
by  it.  I feel  always  at  home  among  cows  and  pigs,  and 
like  best  to  be  with  my  equals, — the  one  is  the  result 
of  the  other,  you  will  say ; but,  to  let  bad  jokes  alone, 
I am  not  a little  pleased  with  your  nevr  songs.  Would 
that  I could  hear  them  forthwith  ! But  it  will  certainly 
be  September  before  we  see  each  other  again,  as 
Madame  Bunsen  has  written  that  she  has  been  charged 
to  inform  me  the  King  does  not  expect  me  back  in 
Berlin  till  the  end  of  September.  We  have  had  for 
Bome  days  past  such  abominable  weather,  that  this  is 


HERR  BIJHl’s  WINE  CELLARS. 


335 


the  first  day  I have  been  able  to  cross  the  threshold 
since  I left  Eppstein.  My  letter^  therefore,  is  not  so 
cheerful  as  you  could  desire ; but  I cannot  help  it,  for 
the  Altkonig  looks  too  Btern  and  gloomy.  I must 
describe  to  you  my  journey  back  from  Zweibriicken. 
My  landlord  drove  me  the  first  stage  in  his  carriage ; 
there  the  Landrath  von  Pirmaseus  received  us  with  a 
breakfast,  and  very  fine  wine  (this  was  at  eight  o’clock 
in  the  morning),  and  drove  us  a stage  further  in  his 
carriage,  to  a grand  old  castle  in  the  Yosges,  where  we 
dined,  and  ascended  a hill  in  the  afternoon.  Cannons 
were  fired  there  to  show  the  echo,  and  champagne 
drunk,  and  at  every  fresh  toast  the  cannons  were  dis- 
charged. He  then  drove  us  another  stage,  where  the 
proprietor  of  St.  Joharm  took  us  under  his  charge,  and 
gave  us  quarters  for  the  night,  and  good  wine ; and 
next  morning  came  another  Zweibrtickner  with  his 
carriage,  and,  after  drinking  a little  more  good  wine,  we 
drove  on  to  Deidesheim,  where  Herr  Buhl  was  waiting 
to  receive  us  in  his  vaults ; but  who  and  what  Herr 
Buhl  and  his  vaults  are,  it  is  quite  impossible  for  me  to 
describe  to  you, — you  must  come  and  taste  for  your- 
selfj  I mean  the  Forster  of  1842,  which  he  fabricates. 
The  cellars  were  lighted  up,  and  there  lay  all  the  valuable 
hogsheads ; and  the  rooms  above  these  cellars  were  as 
elegant  as  possible,  adorned  with  paintings  by  Lo  Spasi- 
mo”  and  the  great  Koberts,  and  Winterhalter’s  Deca- 
meron;” and  a fine  new  grand  pianoforte,  by  Streicher; 
and  a pretty  vv  oman,  who  in  autumn  selects  the  particu- 
lar grapes  in  the  bunches  to  be  used  in  making  the  wine, 
which — but  excuse  the  rest.  StiU,  those  who  have  not 
paid  a visit  to  Herr  Buhl  (or  to  his  brother-in-law, 


336 


Mendelssohn’s  letters. 


Herr  Jordan)  do  not  know  what  Forster  is  here  below. 
They  insisted  on  our  dining  with  them,  though  we 
ought  not  to  have  done  so,  being  expected  to  dinner  at 
Durkheim;  still,  we  dined  all  the  same  (Richard 
Boeckh  will  fully  confirm  all  this,  for  he  was  with  us 
the  whole  time),  and  when  dinner  was  over,  Herr 
Buhl  drove  us  in  his  phaeton  to  Durkheim  (three-quar- 
ters of  a Grerman  mile)  in  twenty  minutes,  so  that  we 
might  not  arrive  too  late  for  dinner ; and  in  Durkheim 
we  found  half  the  musical  festival  again  assembled,  and 
wreaths,  and  inscriptions,  and  ripe  grapes ; only  we 
could  drink  no  more  wine  after  that  of  Herr  Buhl  I 


This  is  the  national  song  of  the  Palatinate,  called 
“ Der  Jager  aus  Kurpfalz.”  It  is  sung  the  whole  five- 
long  day,  blown  on  horns  by  postilions,  played  as  a se- 
renade by  regimental  bands,  and  used  as  a march ; and, 
if  a native  of  the  Palatinate  comes  to  see  you,  and  you 
wish  to  give  him  pleasure,  you  must  play  it  to  him ; 
but  with  abandon^  and  with  great  expression, — that  is 
jovially. 

Such  was  my  journey  back  from  the  Palatinate ; and 


RETURN  FROM  THE  PALATINATE. 


337 


if  you  find  this  description  somewhat  inebriated,  I have 
certainly  hit  on  the  right  key,  for  from  nine  o’clock  in 
the  morning  we  were  never  really  quite  steady,  though 
I can  assure  you  that  until  the  evening  I invariably 
displayed  great  dignity  and  propriety.  (I  refer  you  to 
Eichard  Boeckh.)  After  the  performance  of  St.  Paul,” 
he  suddenly  and  unexpectedly  emerged  from  among 
the  public,  and  you  may  imagine  with  what  joy  I re- 
cognized my  Boccia  comrade  from  the  Leipziger  Strasse, 
No.  3,*  among  all  the  strange  faces;  and  to  use  an  ex- 
pression of  the  Palatinate,  I held  him  fast.  As  to  the 
performances  themselves, — now  I must  of  course  resume 
my  usual  sober  style,  for  the  other  forms  too  great  a 
contrast  to  my  mUier^ — but  no ! I think  I must  con- 
tinue my  tipsy  tone,  and  tell  you  that  amid  a great 
many  deficiencies,  we  had  the  best  St.  Paul  and  Druid 
Priest  there  whom  I have  yet  met  with  in  Germany, 
namely,  a Herr  Oberhofer,  a singer  from  Carlsruhe,  v/ho 
was  formerly  in  the  capital.  I do  not  know  what  he 
may  be  on  the  stage,  but  it  is  impossible  for  any  one  to 
sing,  or  to  deliver  *the  music  which  I heard,  better, 
with  more  intelligence,  or  more  impressively,  than  he 
did.  He  made  the  third  in  our  merry  return  journey. 
How  the  Landrath  Pirmaseus  was  thrown  into  a brook, 
how  Herr  Sternfeld  used  a sausage  to  conduct  the 
orchestra,  and  how,  in  the  first  part  of  the  oratorio,  the 
player  of  the  kettle-drum  beat  it  in  two,  and  his  remark 
on  the  subject,  when  sitting  in  the  street  with  the 
others,  at  half-past  two  o’clock  in  the  morning,  drinking 
punch, — all  this  you  must  hear  from  my  own  hps. 


* Mendelssohn’^  paternal  home,  in  which  the  Boeckh  family  also 
resided, 

29 


338 


Mendelssohn's  letters. 


Keep  the  whole  of  this  letter  strictly  private  from  Se- 
bastian ; but  thank  him  repeatedly  from  me  for  his  nice 
letter.  Tell  him  that  I care  very  little  about  his  hTo.  1, 
and  that  he  ought  not  to  be  in  any  hurry  to  come  to 
Unterseciinda.  When  all  number  ones^  and  classes,  and 
examinations,  come  to  an  end,  and  when  no  man  living 
either  asks  for  or  gives  testimonials,  then  learning  will 
first  begin  in  good  earnest,  and  all  our  energies  will  be 
called  forth,  and  yet  we  shall  obtain  no  red  certificates ; 
and  that  would  indeed  be  delightful,  and  that  would  in- 
deed be  life  itself.  And  thus  it  is  that  I care  so  little 
about  No.  1 of  Untertertia,  or  for  No.  1 of  the  Order 
of  the  Eed  Eagle,  or  for  all  the  other  numbers  in  the 
world.  Or,  if  this  be  too  philosophical  for  you,  or  too 
unphilosophical,  then  keep  it  from  him  also;  but  it 
forms  a part  of  my  creed.  May  we  have  a pleasant, 
happy,  speedy  meeting! — Your 

Felix. 


To  Professor  Yerhulst,  the  Hague. 

Berlin,  November  17th,  1844. 

Sir, 

Pray  accept  my  thanks  for  your  kind  letter,  and 
the  accompanying  parcel,  with  its  rich  and  valuable 
contents. 

If  you  are  like  me,  you  can  hear  nothing  more  wel- 
come about  your  works  than  when  you  are  told  that 
you  have  made  progress  in  them;  and  in  those  you 
have  now  sent  me,  this  is  very  manifest  throughout 
them  all.  They  are  almost  in  every  respect  masterly 


FRIENDLY  ENCOURAGEMENT. 


339 


and  defined,  and  devoid  of  all  that  is  false  or  incongruous, 
in  individual  passages ; and  when  taken  as  a whole,  if 
one  piece  appears  more  finished  or  more  sympathetic 
than  another,  what  is  so  fine  in  Art  is  precisely  that  it 
gives  no  mastery  so  entire  as  to  rise  superior  to  this  ; 
and  one  of  the  secrets  of  honest  assiduous  work  is,  that 
what  is  less  successful  does  not  give  rise  to  despair,  and 
what  is  more  successful  does  not  give  rise  to  arrogance  ; 
and  thus  others  may  get  a just  insight  into  the  work- 
shop of  the  soul  of  an  artist.  Such  a survey  of  your 
present  production  you  have  enabled  me  to  make,  by 
the  valuable  packet  you  have  sent  me.  A succession 
of  many  works  displays  decidedly  what  one  solitary 
work  cannot  do,  that  you  have  won  for  yourself  a 
higher  and  loftier  position  by  the  cultivation  of  your 
talents,  which  rejoices  me  much,  and  for  which  I owe 
you  my  sincere  and  heartfelt  thanks. 

May  your  praiseworthy  endeavours  to  diffuse  the 
knowledge  of  songs  in  your  mother-tongue  prove  suc- 
cessful, and  meet  with  that  grateful  acknowledgment 
which  they  so  well  deserve ! I know  of  no  more  noble 
aim  that  any  one  could  propose  to  himself,  than  to  give 
music  to  his  own  language  and  to  his  own  country,  as 
you  have  done  and  still  design  to  do.  These  works  are 
a fine  commencement  for  such  a purpose ; but,  that  their 
tones  may  not  die  away  unheard  by  your  fellow-coun- 
trymen, many,  many  more  must  yet  follow,  and  with 
ever-increasing  progress.  Y ocation  and  endowments 
are  your  own.  So,  may  Heaven  grant  you  also  health 
and  steady  perseverance,  and  a happy  life  I 

This  is  the  wish  of  your  devoted 

Felix  Mendelssohn  Bartholdy. 


340 


MENDELSSOHN^S  LETTERS. 


From  Minister  Eichhorn.^  to  Felix  Mendelssohn  Bar- 
tholdy^  at  Frankfurt-am-Main, 

Berlin,  March  2d,  1845. 

Sir, 

You  may  remember  that  I made  a report  to  his 
Majesty,  some  years  since,  on  proposals  which  had  been 
suggested  for  the  establishment  of  a Conservatorium 
here;  his  Majesty,  however,  was  pleased  to  declare 
that  the  establishment  of  such  a Conservatorium  was 
not  at  present  in  accordance  with  his  Majesty’s  views. 
The  affair  has,  consequently,  remained  since  that  time 
in  abeyance.  The  absolute  necessity  of  a reform  in  the 
Eoyal  Academy  of  Arts  seems  daily  to  be  more  urgent; 
it  therefore  becomes  a duty  to  obtain  as  clear  a view 
as  possible  of  the  measures  to  be  pursued,  and  to  settle 
the  preliminary  arrangements  for  the  best  mode  of  ful- 
filling this  design.  The  musical  section  of  the  Aca- 
demy, which  cannot  be  continued  under  its  present 
regulations,  must  form  one  of  the  most  essential  points 
in  this  reform.  As,  however,  in  accordance  with  the 
good  pleasure  of  his  Majesty,  the  eventual  enlargement 
of  this  section  to  a real  Conservatorium  is  not  at  present 
to  take  place,  it  seems  most  advisable  not  to  lose  sight 
of  the  principle  which  forms  the  basis  of  the  present 
section,  and  to  direct  every  effort  to  secure  its  most 
perfect  development.  This  principle  assumes  that  the 
chief  object  of  the  musical  section  should  be  especially 
to  form  a school  for  musical  composition.  For  this  pur- 
pose, it  is,  in  my  opinion,  above  all  expedient  that  a 


* Inserted  in  order  to  make  Mendelssohn's  rejdy  more  clear. 


THE  BERLIN  ACADEMY  OF  ARTS. 


341 


master  should  stand  at  thfe  head  of  such  a section  who, 
by  his  own  energetic,  creative  powers,  may  become  a 
guiding  star  for  others,  and  thus  be  enabled  to  exercise 
a genuine  and  stimulating  influence;  possessing  also 
the  ability  to  examine  critically  the  productions  of  the 
scholars,  and  by  his  zealous  co-operation  to  guide  them 
on  the  right  path,  in  the  very  same  way  that  in  the 
plastic  arts  the  master  of  the  ateliei'  stands  in  relation  to 
his  scholars.  ^Instruction  in  the  theory  and  history  of 
music  might  be  shared  by  other  teachers.  Steps  should 
besides  be  taken,  by  a closer  connection  with  other  in- 
stitutes, or  by  any  other  suitable  means,  to  endeavour 
to  form  a limited  choir  and  orchestra,  which  might 
furnish  an  opportunity  for  the  performance  of  classical 
chefs-d'oeuvre^  as  well  as  of  the  works  of  the  scholars, 
and  likewise  for  practice  in  conducting, — an  arrange- 
ment which,  in  the  event  of  an  urgent  and  manifest 
necessity  for  such  a thing,  might  perhaps  at  some 
future  day  lead  to  a real  Conservatorium.  ^ 

You  will.  Sir,  earn  my  best  thanks  by  being  so  good 
as  to  transmit  to  me  your  sentiments  on  these  sugges- 
tions, and  more  especially  if,  in  case  you  agree  to  these 
proposals  in  their  general  outline,  you  could  also  assure 
me  that  you  are  eventually  disposed  yourself  to  under- 
take the  direction  and  the  situation  of  teacher  of  com- 
position, in  the  said  musical  section.  Should  this  latter 
proposal,  however,  not  be  in  conformity  with  your 
plans  in  life,  may  I request  you  to  name  the  person 
among  our  composers  here  or  elsewhere  who,  according 
to  your  competent  judgment,  is  best  suited  to  superin- 
tend with  success  the  situation  in  question,  as  it  seems 
to  me  vei  y desirable  to  discuss  any  further  measures 
29* 


342 


Mendelssohn’s  letters. 


that  may  be  necessary  with  the  director  selected  foi 
that  section. — Accept,  Sir,  etc., 

Eichhorn. 


To  Minister  Eichhorn,  Berlin. 

Frankfurt-am-]J^.,  March  6th,  1845. 

I must  first  of  all  thank  your  Excellency  for  the  flat- 
tering proof  of  confidence  contained  in  the  letter  I have 
received  from  your  Excellency,  and  also  for  your  wish 
to  hear  my  opinion  in  so  important  a matter.  That  the 
reform  of  the  Academy  of  Arts  and  its  musical  section, 
which  your  Excellency  refers  to  in  your  letter,  will  be 
of  the  greatest  value  to  the  whole  musical  condition 
of  Berlin,  does  not  admit  of  the  smallest  doubt.  Your 
Excellency  informs  me  that  it  is  your  intention  to 
effect  this  by  placing  a composer  at  the  head  of  the 
musical  section  to  be  a guiding  star  to  the  pupils  by 
his  own  energetic  creative  powers,  like  the  master  of 
the  atelier  in  the  plastic  arts,  and  you  do  me  honour  to 
mention  my  name  on  this  occasion,  or,  in  the  event  of 
my  being  prevented  accepting  this  offer,  you  commis- 
sion me  to  point  out  one  of  my  colleagues  in  art  whom 
I consider  best  suited  for  such  a situation.  But,  in 
order  to  form  a decided  opinion  on  the  matter,  I must 
beg  for  an  explanation  of  various  points  which,  in  this 
and  every  other  affair  of  the  same  kind,  appear  to  me 
the  most  important,  and  before  which  all  personal  ques- 
tions must  retire  into  the  background. 

Is  the  reform  which  you  have  in  view  in  the  musical 


THE  BERLIN  ACADEMY  OF  ARTS. 


343 


section,  to  consist  solely  in  the  appointment  of  such  a 
composer,  and  the  musical  section  to  continue  in  the 
same  shape  as  formerly  ? If  this  be  the  case,  what  re- 
lation will  such  a director  assume  to  the  former  mem« 
bers  of  the  senate  or  section,  and  to  the  director  of  the 
whole  Academy  ? Is  the  distribution  of  the  different 
branches  of  instruction  to  remain  the  same,  or  is  a 
reform  proposed  in  this  respect  also?  In  what  does 
the  actual  practical  efficacy  of  such  a teacher  consist  ? 
It  is  not  possible  to  show  the  act  of  composition,  as  the 
master  in  an  atelier  does  the  design  of  a picture  or  the 
form  of  a model ; and,  according  to  your  Excellency’s 
words,  an  intellectual  influence  is  what  is  chiefly  re- 
quired. Such  an  influence,  according  to  my  conviction, 
is  only  to  be  obtained  in  the  School  of  Art,  when  the 
whole  course  of  instruction  has  already  laid  a sound 
foundation,  when  all  the  teachers  in  their  positive  de- 
partments strive  towards  the  same  point,  when  no 
actual  deficiency  is  anywhere  overlooked  in  the  edu- 
cation, and,  finally,  when,  as  a key-stone,  the  corre- 
sponding impulses  of  this  education  are  combined 
and  placed  before  the  scholars  in  their  practical  applica- 
tion, and  thus  more  strongly  impressed  on  their  minds. 
In  this  sense  I could  well  imagine  such  a new  active 
situation  fruitful  for  good  and  for  influence;  but  it 
seems  to  me  that  for  this  purpose  it  is  not  merely  the 
situation  itself  which  is  to  effect  it,  but  in  reality  a 
reform  of  the  whole  inner  constitution  of  the  Academy ; 
and  I do  not  know  whether  this  enters  into  your  Excel- 
lency’s views,  or  indeed  be  within  the  range  of  possi- 
bility. Without  this,  the  position,  though  undoubtedly 
highly  honourable,  would  be  devoid  of  aU  real,  practical 


344 


Mendelssohn's  letters. 


utility ; a merely  universal  excitement,  however  great, 
can  at  best  only  call  forth  an  unfiuitful  enthusiasm  in 
the  minds  of  the  scholars,  if  indeed  it  calls  forth  any- 
thing whatsoever.  The  teachers  of  positive  science 
alone  would,  in  such  a case,  acquire  a decided  influence 
on  the  development  of  young  artists ; the  professor  at 
the  head,  influencing  only  by  example,  would,  on  the 
other  hand,  be  like  a mere  airy  phantom,  and  the  con- 
nection between  the  head  and  the  limbs  fail,  without 
which  neither  the  head  nor  the  limbs  can  live  or  thrive. 

If  your  Excellency  will  be  so  good'  as  to  give  me 
some  more  precise  information  on  this  matter,  I shall 
then  be  in  a position  to  form  a clearer  view  of  the  affair 
itself,  as  well  as  of  the  personal  questions  connected 
with  it ; and  I shall  esteem  it  my  duty,  on  this  as  on 
every  other  subject,  to  state  my  opinion  candidly  to 
your  Excellency.* — Your  devoted 

Felix  Mendelssohn  Bartholdy. 


To  Felix  MendelssoJin  Bartholdy^  from  the  Qeheim 
Cabinetsrath  Midler  A 

Berlin,  March  5th,  1845. 

It  is  proposed  to  set  to  music  the  choruses  of  the 
trilogy  of  “Agamemnon,”  the  “ Choephoree,  ” and  the 
“Eumenides,”  to  be  combined  and  curtailed  for  per- 
formance. According  to  Tieck’s  information,  you  de- 

* This  communication  also  led  to  no  results. 

t Here  also  this  letter  to  Mendelssohn  seems  necessary  to  render  his 
reply  intelligible. 


CHORUSES  TO  GREEK  PLAYS. 


345 


clined  the  composition  in  this  form.  The  King  can 
scarcely  believe  this,  as  his  Majesty  distinctly  remem- 
bers that  you,  esteemed  Sir,  personally  assured  him 
that  you  were  prepared  to  undertake  this  composition. 
I am  therefore  commissioned  by  the  King  to  ask, 
whether  the  affair  may  not  be  considered  settled  by 
your  verbal  assent,  and  whether,  in  pursuance  of  this, 
you  feel  disposed  to  be  so  kind  as  to  declare  your 
readiness  to  undertake  the  composition,  which  will  be 
a source  of  much  pleasure  to  the  King,  and  in  accor- 
dance with  your  promise,  gladly  to  comply  with  any 
wishes  of  his  Majesty. — I am,  Sir,  your  obedient, 

Muller. 


To  Gteheim  Cabinetsrath  Muller,  Berlin. 

Frankfort,  March  12th,  1845. 

His  Majesty  the  King  never  spoke  to  me  on  the 
subject  of  the  choruses  in  the  combined  and  curtailed 
trilogy  of  ‘^Agamemnon,”  the  “ Choephorse,”  and  the 
^•Eumenides.”  His  Majesty  certainly  was  pleased  to 
appoint  me  the  task  last  winter  of  composing  music  for 
the  choruses  in  ^schylus’s  Eumenides.”  I could 
not  promise  to  supply  this  music,  because  I at  once 
saw  that  the  undertaking  was  beyond  my  capabilities  • 
still  I promised  his  Majesty  to  make  the  attempt,  not 
concealing  at  the  same  time  the  almost  insuperable 
difficulties  which  caused  me  to  doubt  the  success  of 
the  attempt.* 


* See  the  Letter  to  Bunsen  of  May  Ist,  1844. 


346 


Mendelssohn’s  letters. 


Since  then,  I have  occupied  myself  for  a considerable 
time,  in  the  most  earnest  manner,  with  the  tragedy.  I 
have  endeavoured  by  every  means  in  my  power  to  ex- 
tract a musical  sense  from  these  choruses,  in  order  to 
render  them  suitable  for  composition,  but  I have  not 
succeeded,  and  have  not  been  enabled  to  fulfil  the  task 
in  the  case  of  one  of  them,  in  such  a manner  as  is  de- 
manded by  the  loftiness  of  the  subject,  and  the  refined 
artistic  perceptions  of  the  King.  Of  course  the  question 
was  not  that  of  writing  tolerably  suitable  music  for  the 
choruses,  such  as  any  composer  conversant  with  the 
forms  of  art  could  write  for  almost  every  word,  but  the 
injunction  was  to  create  for  the  JEschylus  choruses 
music  in  the  good  and  scientific  style  of  the  present 
day,  which  should  express  their  meaning,  with  life  and 
reality.  I have  endeavoured  to  do  this  in  my  music  to 
^‘Antigone,”  with  the  Sophocles  choruses;  with  regard, 
however,  to  the  ^schylus  choruses,  in  spite  of  all  my 
strenuous  efforts,  I have  not  hitherto  succeeded  even 
in  any  one  attempt. 

The  contraction  of  these  pieces  into  one,  exceedingly 
augments  the  difficulty,  and  I venture  to  assert  that  no 
living  musician  is  in  a position  to  solve  this  giant  task 
conscientiously;  far  less,  then,  can  I pretend  to  do  so. 

In  requesting  your  Excellency  to  communicate  this 
to  his  Majesty,  I also  beg  you  at  the  same  time  to 
mention  the  three  compositions  of  mine,  which,  by  his 
Majesty’s  comm^ands,  are  now  ready  for  performance, 
namely,  the  “(Edipus  Coloneus,”  the  Athalie  ” of 
Racine,  and  the  (Edipus  Rex  ” of  Sophocles.  The  en- 
tire full  scores  of  the  two  former  are  completed,  first 
and  last,  so  that  nothing  further  is  required  for  their 


MUSIC  TO  GREEK  CHORUSES. 


347 


representation,  except  the  distribution  of  the  parts  to 
the  actors  and  singers.  The  sketch  of  the  (Edipus 
Rex  ” is  also  completed.  I mention  these,  in  the  hope 
that  they  may  furnish  a proof  that  I always  consider 
the  fulfilment  of  his  Majesty’s  commands  as  a duty  and 
a pleasure,  so  long  as  I can  entertain  any  hope  of  per- 
forming the  task  worthily  j and  to  show  that  when  I 
allow  even  one  to  remain  unfulfilled,  it*  arises  solely 
from  want  of  abihty,  and  never  from  want  of  intention. 


Answer  from  Muller. 

Berlin,  March  19th,  1845. 

Immediately  on  receipt  of  your  esteemed  letter  of 
the  12th  instant,  I took  an  opportunity  to  inform  his 
Majesty  of  its  contents.  The  King  laments  being 
obhged  to  resign  the  great  pleasure  it  would  have 
caused  his  Majesty  to  see  the  JEschylus  choruses  com- 
posed by  you,  but  rejoices  in  the  completion  of  the 
Sophocles  trilogy,  and  also  in  that  of  “ Athalie.”  The 
King  hopes  for  your  presence  here  in  the  approaching 
summer,  as  his  Majesty  wishes  to  become  acquainted 
with  these  new  compositions  under  your  direction 
alone. 


348 


Mendelssohn's  letters. 


To  1.  Moscheles,  London. 

Frankfort,  March  7th,  1845. 

My  dear  Friend, 

It  is  so  good  and  kind  of  you  to  write  me  a gossip- 
ing letter  again,  as  in  the  good  old  times.  I leave 
everything  undone  and  untouched  till  I have  answered 
you,  and  thadked  you  for  all  your  continued  friendship 
and  kindness  towards  me.  What  you  say  of  the 
English  musical  doings  certainly  does  not  sound  very 
satisfactory,  but  where  are  they  really  satisfactory? 
Only  within  a man’s  own  heart ; and  there  we  find  no 
such  doings,  but  something  far  better.  So  little  benefit 
is  derived  even  by  the  public  itself  from  all  this  direct- 
ing and  these  musical  performances, — a little  better,  a 
little  worse,  what  does  it  matter  ? how  quickly  is  it 
forgotten ! and  what  really  influences  all  this  and 
advances  and  promotes  it,  are  after  all  the  quiet  calm 
moments  of  the  inner  man,  taking  in  tow  all  these  pub- 
lic fallacies  and  dragging  them  to  and  fro  as  they  well 
deserve.  Probably  you  will  say  this  is  the  way  in 
which  a domestic  animal,  or  a snail,  or  an  old-fashioned 
grumbler,  would  speak;  and  yet  there  is  some  truth 
in  it ; and  one  book  of  your  studies  has  had  more  influ- 
ence on  the  public  and  on  Art,  than  I do  not  know 
how  many  morning  and  evening  concerts  during  how 
many  years.  Do  you  see  what  I am  aiming  at?  I 
should  like  so  very  much  to  get  the  sonata  as  a duett, 
or  the  “ Etudes  ” as  duetts  or  solos,  or,  in  short,  some- 
thing. 

I much  regret  the  affair  with  the  Handel  Society 


♦ Eeferring  to  his  edition  of  “ Israel  in  Egypt,”  for  this  Society. 


THE  HANDEL  SOCIETY. 


349 


but  it  is  impossible  for  me  to  alter  my  views  on  the 
subject.  Though  quite  ready  to  yield  in  non-essential 
points,  Such  as  the  mode  of  marking  accidentals, — 
though  in  this,  even,  owing  to  the  long  bars,  I prefer 
the  old  fashion, — yet  on  no  account  whatever  would  I 
interpolate  marks  of  expression,  tempi^  etc.,  or  anything 
else,  in  a score  of  Handel’s,  if  there  is  to  be  any  doubt 
whether  they  are  mine  or  his ; and  as  he  has  marked 
pianos  and  fortes  and  figured  bass  wherever  he  thought 
them  essential,  I must  either  leave  these  out  altogether, 
or  place  the  public  under  the  impossibility  of  discover- 
ing which  are  his  marks  and  which  are  mine.  To 
extract  these  signs  from  the  pianoforte  edition,  and 
transfer  them  to  the  score,  if  mine  are  to  he  inserted^ 
would  cause  very  little  trouble  to  any  one  who  wishes 
to  have  the  score  thus  marked;  while,  on  the  other 
hand,  the  injury  is  very  great  if  the  edition  does  not 
distinguish  between  the  opinion  of  the  editor  and  the 
opinion  of  Handel.  I confess  that  the  whole  interest  I 
take  in  the  Society  is  connected  with  this  point,  for  the 
edition  of  the  Anthems  which  I formerly  saw  was  of  a 
kind,  precisely  owing  to  the  new  marking,  that  I could 
never  adopt  for  performance.  Above  ail,  I must  know 
exactly  and  beyond  all  doubt  what  is  Handel’s  and 
what  is  not.  The  Council  supported  me  in  this  opinion 
when  I was  present,  now  they  seem  to  have  adopted  a 
contrary  one  ; if  this  is  to  be  followed  out,  I,  and  I fear 
many  others,  would  much  prefer  the  old  edition  with 
its  false  notes,  to  the  new,  with  its  different  readings 
and  signs  in  the  text.  I have  already  written  all  this 
to  Macfarren.  I am  sure  you  are  not  angry  with  me 
for  stating  my  opinion  so  candidly  ? it  is  too  closely 
30 


350 


Mendelssohn’s  letters. 


connected  witli  all  that  I have  considered  right,  during 
the  whole  course  of  my  life,  for  me  now  to  give  it  up. 

Andre  has  just  sent  me  the  original  score,  to  look 
over,  of  Mozart’s  symphony  in  C major,  “Jupiter;”  I 
will  copy  for  you  something  out  of  it  that  will  amuse 
you.  The  eleven  bars  at  the  close  of  the  adagio  were 
formerly  written  thus : — 


i= 


^ A 


-Bd 


7 ^ 


and  so  on  to  the  end. 

He  has  written  the  whole  repetition  of  the  thema  on 
a separate  leaf,  and  struck  out  this  passage,  bringing 
it  in  again  only  three  bars  before  the  end.  Is  not  this 
a happy  alteration  ? The  repetition  of  the  seven  bars 
is  to  me  one  of  the  most  delightful  passages  in  the 
whole  symphony  I 


SPRING  AT  FRANKFORT.  351 

Give  my  kind  remembrances  to  your  family,  and  re- 
tain a kindly  regard  for  your 

Felix  Mendelssohn  Barthold y. 


To  Eebecca  Birichlet,  Florence. 

Frankfort,  March  25th,  1845. 

Bear  Sister, 

I continue  faithful  to  the  new  custom  I have  adopted, 
and  answer  your  welcome  letter  on  the  spot ; it  is  just 
come,  and  brings  spring  with  it.  For  the  first  time  to- 
day we  have,  out  of  doors,  that  kind  of  atmosphere  in 
which  ice  and  winter  cold  melt  away,  and  all  becomes 
mild,  and  warm,  and  enjoyable.  If,  however,  you  have 
no  driving  ice  in  Florence,  you  ought  to  envy  us^  instead 
of  the  reverse,  for  it  is  a splendid  spectacle  to  see  the 
water  bubbling  under  the  bridge  here,  and  springing 
and  rushing  along,  and  flinging  about  the  great  blocks 
and  masses  of  ice,  and  saying,  “ Away  with  you  I we 
have  done  with  you  for  the  present  I”  it  also  is  cele- 
brating its  spring  day,  and  showing  that  under  its  icy 
covering  it  has  preserved  both  strength  and  youth,  and 
runs  along  twice  as  rapidly,  and  leaps  twice  as  high,  as 
in  the  sober  days  of  other  seasons.  You  should  really 
see  it  for  once  ! The  whole  bridge  and  the  whole  quay 
are  black  with  people,  all  enjoying  the  fine  sight  gratis, 
with  the  sun  shining  on  them  gratis  too.  It  is  very 
pitiable  in  me,  that,  instead  of  speaking  of  the  poetry 
of  spring,  I only  talk  of  the  economy  she  brings  in 
wood,  light,  and  overshoes,  and  how  much  sweetei 


352 


MENDELSSOHN'S  LETTERS. 


everything  smells,  and  how  many  more  good  things 
there  are  to  eat,  and  that  the  ladies  have  resumed  their 
bright  gay-coloured  dresses,  and  that  the  steamboats 
are  going  down  the  Ehine,  instead  of  diligences,  etc. 
etc.  From  above  you  will  perceive,  and  Fanny  also 
(for  you  must  send  her  all  my  letters  to  Rome),  that, 
G-od  be  praised,  there  is  nothing  new  with  us,  which 
means  that  we  are  all  well  and  happy,  and  thinking  of 

you.  I came  with  S last  night  at  one  o’clock  from 

a punch  party,  where  I first  played  Beethoven’s  sonata 
106,  in  B flat,  and  then  drank  two  hundred  and  twelve 
glasses  of  punch  fortissimo  ; we  sang  the  duett  from 
“ Faust  ” in  the  Mainz  Street,  because  there  was  such 
wonderful  moonlight,  and  to-day  I have  rather  a head- 
ache. Pray  cut  off  this  part  before  you  send  the  letter 
to  Rome  ; a younger  sister  may  be  intrusted  with  such 
a confidence,  but  an  elder  one,  and  in  such  a Papal 
atmosphere, — not  for  your  life  ! 

I have  only  seen  X three  times  this  winter ; he 

is,  unfortunately,  very  unsociable ; I cannot  get  on 
with  him  even  with  the  best  v/ill  on  my  side,  and  I 
believe  he  is  going  on  worse  now  than  for  many  years 
past.  Any  one  who  at  all  enters  into  the  religious 
squabbles  of  the  moment,  and  does  not  steadily  refuse 
to  listen  to  them,  one  and  all,  will  get  so  deeply  in- 
volved, as  to  be  ere  long  severed  unawares  from  both 
friends  and  happiness,  and  instances  of  this  begin  to  be 
manifest  in  Germany  in  all  circles.  In  my  inmost 
heart  I feel  uncertain  as  to  which  extreme  is  the  most 
repugnant  to  me,  and  yet  I cannot  clearly  decide 
between  them. 

In  Diisseldorf  they  announced,  on  the  second  day  of 


FKIENDLY  CRITICISMS. 


353 


the  Musical  Festival,  Mozart’s  “ Eequiem,”  my  “ Wal- 
purgis  Nacht,”  and  finally  Beethoven’s  choral  sympho- 
ny. “0  temporal  0 mores!”  If  you  ask  what  this 
letter  contains,  the  answer  is,  that  we  are  all  weU,  and 
hope  you  are  the  same,  and  rejoice  at  the  thoughts  of 
our  meeting  again. — Your  (in  spring  weather)  very 
nleased 

Felix, 


To  Emil  Naumann, 

{Now  Music  Director  at  Berlin.) 

Leipzig,  March,  1845. 

Dear  Herr  Haumann, 

I have  observed  with  much  pleasure  very  important 
progress  in  the  compositions  which  you  have  sent  me, 
and  essential  improvement  in  your  whole  musical 
nature  and  efi&ciency.  I consider  these  works  in  every 
particular  preferable  to  your  earlier  ones,  and,  conse- 
quently, they  cause  me  most  extreme  gratification. 
There  is  much  in  them  to  be  unreservedly  commended ; 
almost  all.  when  compared  with  your  productions  of 
past  years,  awaken  in  me  a fresh  hope  that  you  will 
one  day  be  able  to  produce  something  really  vigorous 
and  good,  and  that  it  only  rests  with  yourself  to  fulfil 
this  hope. 

I have  nothing  special  to  say  to  you  with  regard  to 
the  works,  and  indeed,  owing  to  the  mass  of  afiairs  and 
occupations  which  crowd  on  me  here,  I can  now  less 
than  ever  find  time  to  write.  But  it  is  not  necessary, 
30* 


354 


MENDELSSOHN  S LETTERS. 


for  throughout  I see  traces  of  the  good  advice  of  youi 
present  instructor,*  and  feel  increased  respect  for  him 
in  consequence  of  your  progress.  You  are  certainly, 
with  him,  in  the  best  hands  possible ; attend  assidu- 
ously therefore  to  his  advice,  and  take  advantage  of  his 
instructions,  and  of  the  lime  in  which  you  can  and 
must  learn. 

I should  like  to  hear  you  play  the  capriccio  in  C,  for 
if  you  can  play  it  with  steadiness  and  clearness,  and 
keep  correct  time,  you  must  have  improved  very  much. 
I like  this  capriccio  better  than  the  one  in  E minor,  and 
it  seems  to  me  more  original.  On  the  other  hand,  there 
is  a great  deal  that  pleases  me  in  the  sonata ; particu- 
larly the  beginning  and  end  of  the  first  movement,  and 
the  tempo  di  marcia^  etc.  etc.  As  I said  before,  you 
must  continue  to  work : I must  also  beg  you  to  place 
the  same  reliance  henceforth  on  me,  that  you  so  kindly 
express  in  your  letter.  And  as  you  apply  Goethe’s 
words  to  me,  and  call  me  a master ^ I can  only  reply 
once  more  in  Goethe’s  words : — 

“ Learn  soon  to  know  wherein  he  fails ; 

True  Art,  and  not  its  type,  revere.” 

The  advice  in  the  first  line  is  not  difficult  to  follow, 
and  the  latter  is  not  to  be  feared  with  you.  Towards 
Whitsunday,  when  I am  to  be  at  Aix,  I intend  to  pass 
through  Frankfort,  and  hope  then  to  see  and  hear  some- 
thing new  of  yours. — Always  yours  sincerely, 

Felix  Mendelssohn  Bartholdy. 


* Franz  Messer,  at  Frankfort-on-the-Main. 


RECOLLECTIONS  OF  FRANKFORT. 


355 


To  Senator  Bernus,  Frankfort. 

Leipzig,  October  10  th,  1845. 

...  I cannot  tell  you  how  often,  indeed  almost 
daily,  I think  of  the  last  winter  and  spring  which  I 
passed  so  pleasantly  with  you  in  Frankfort.  I could 
scarcely  myself  have  believed  that  my  stay  there  would 
have  caused  such  a lasting  and  happy  impression  on 
my  mind  ! So  strong  is  it,  that  I have  often  pictured 
to  myself,  in  all  earnest,  giving  you  a commission 
(according  to  your  promise)  to  buy  or  to  build  for  me 
a house  with  a garden,  when  I would  return  perma- 
nently to  that  glorious  country  with  its  gay  easy  life. 
But  such  happiness  cannot  be  mine ; some  years  must 
first  elapse,  and  the  work  I have  begun  here  must 
have  produced  solid  results,  and  be  a good  deal  further 
advanced  (at  least  I must  have  tried  to  effect  it),  before 
I can  think  of  such  a thing. 

But  I have  the  same  feeling  as  formerly,  that  I shall 
only  remain  in  this  place  so  long  as  I feel  pleasure  and 
interest  in  the  outward  occupations  which  here  seem  the 
most  a :reeable  to  me.  As  soon,  however,  as  I have 
won  the  right  to  live  solely  for  my  inward  work  and 
composing,  only  occasionally  conducting  and  playing  in 
pubhc  just  as  it  may  suit  me,  then  I shall  assuredly 
return  to  the  Ehine,  and  probably,  according  to  my 
present  idea,  settle  at  Frankfort.  The  sooner  I can  do 
so,  the  mora  I shall  be  pleased.  I never  undertook 
external  musical  pursuits,  such  as  conducting,  etc.,  from 
inclination,  but  only  from  a sense  of  duty;  so  I hope, 
before  many  years  are  over,  to  apply  myself  to  building 
a house. 


356 


Mendelssohn’s  letters. 


Before  then,  probably,  either  a true  and  solid  nucleus 
will  have  been  formed  among  the  German  Catholics  in 
favour  of  enlightenment  and  other  new  German  ideas, 
and  free  ground  and  soil  won  for  these,  or  the  whole 
movement  will  have  vanished  and  been  superseded  by 
other  catastrophes.  If  neither  the  one  nor  the  other 
occurs,  I fear  we  run  the  risk  of  losing  our  finest 
national  features,  solidity,  constancy,  and  honourable 
perseverance,  without  gaining  any  compensation  for 
them.  A collection  of  French  phrases  and  French 
levity  would  be  too  dearly  bought  at  such  a price.  It 
is  to  be  hoped  that  something  better  will  ensue  I 


To  Pastor  Bauer,  Beszig. 

Leipzig,  May  23d,  1846. 

Your  kind  letter  and  the  book  caused  me  great  plea- 
sure. I received  the  parcel  some  weeks  since,  but  as 
I have  very  little  time  left  for  reading,  and  as  a work 
like  yours  cannot  be  quickly  perused  by  a layman, 
you  will  be  able  to  understand  the  delay  in  express- 
ing my  thanks.  I have  learnt  much  from  your  book, 
for  it  is  in  fact  the  first  summary  of  Church  history  that 
I ever  read;  but  from  this  very  circumstance  you  are 
mistaken  in  my  position  if  you  think  I ^ould  attempt 
either  verbally  or  in  writing  to  maintain  my  own  opi- 
nions on  such  a matter,  when  opposed  to  yours,  and 
that  I might  see  it  in^a  different  light  as  a musician, 
etc.  The  only  point  of  view  from  which  I can  consider 


FORMATION  OF  OPINIONS. 


357 


such  questions  is  that  of  a learner,  and  I confess  to 
you  that  the  older  I become,  the  more  do  I perceive 
the  importance  of  first  learning  and  then  forming  an 
opinion ; not  the  latter  previous  to  the  former,  and  not 
both  simultaneously.  In  this  I certainly  differ  much 
from  very  many  of  our  leading  men  of  the  present  day, 
both  in  music  and  theology.  They  declare  that  he 
alone  can  form  a right  judgment  who  has  learned 
nothing,  and  indeed  requires  to  learn  nothing;  and  my 
rejoinder  is,  that  there  is  no  man  living  who  does  not 
require  to  learn.  I think,  therefore,  that  it  is  more 
than  ever  the  duty  of  every  one  to  be  very  industrious 
in  his  sphere,  and  to  concentrate  all  his  powers  to  accom- 
plish the  very  best  of  which  he  is  capable ; and  thus 
the  recent  Church  movements  are  more  unknown  to 
me  than  you  probably  believe  (perhaps  more  than  you 
would  approve),  and  I rejoice  that  the  very  reverse  is 
. the  case  with  you.  I cannot,  in  fact,  understand  a 
theologian  who  at  this  moment  does  not  come  forward, 
or  who  feels  no  sympathy  in  these  matters ; but  just 
as  little,  many  of  those  7^07^-theologians  whom  I often 
see,  and  who  talk  of  reformation  and  of  improvement, 
but  who  are  equally  incompetent  to  know  or  to  compre- 
hend either  the  present  or  the  past,  and  who,  in  short, 
wish  to  introduce  dilettanteismmio  the  highest  questions. 

I believe  it  is  this  very  dilettanteism  which  plays  us 
many  a trick,  because  it  is  of  a twofold  nature, — neces- 
sary, useful,  and  beneficial,  when  coupled  with  sincere 
interest  and  modest  reserve,  for  then  it  furthers  and 
promotes  all  things, — but  culpable  and  contemptible 
when  fed  on  vanity,  and  when  obtrusive,  arrogant^  and 
seff-sufficient.  For  instance,  there  are  few  artists  for 


358 


Mendelssohn’s  letters. 


whom  I feel  so  much  respect  as  for  a genuine  dilettante 
of  the  first  class,  and  for  no  single  artist  have  I so  httle 
respect  as  for  a dilettante  of  the  second  class.  But 
where  am  I wandering  to  ? . . . 


To  Pastor  Julius  Schubring,  Dessau. 

Leipzig,  May  23d,  1846. 

Dear  Schubring, 

Once  more  I must  trouble  you  about  Elijah;”  I 
hope  it  is  for  the  last  time,  and  I also  hope  that  you 
will  at  some  future  day  derive  enjoyment  from  it ; and 
how  glad  I should  be  were  this  to  be  the  case  I I have 
now  quite  finished  the  first  part,  and  six  or  eight  num- 
bers of  the  second  are  already  written  down.  In  vari- 
ous places,  however,  of  the  second  part  I require  a 
choice  of  really  fine  Scriptural  passages,  and  I do  beg 
of  you  to  send  them  to  me  I I set  off  to-night  for  the 
Ehine,  so  there  is  no  hurry  about  them ; but  in  three 
weeks  I return  here,  and  then  I purpose  forthwith  to 
take  up  the  work  and  complete  it.  So  I earnestly  be- 
seech of  you  to  send  me  by  that  time  a rich  harvest  of 
fine  Bible  texts.  You  cannot  believe  how  much  you 
have  helped  me  in  the  first  part ; this  I will  tell  you 
more  fully  when  we  meet.  On  this  very  account  I en- 
treat you  to  assist  me  in  improving  the  second  part 
also.  I have*  now  been  able  to  dispense  with  all  histo- 
rical recitative  in  the  form,  and  introduced  individual 
persons.  Instead  of  the  Lord,  always  an  angel  or  a 
chorus  of  angels,  and  the  first  part  and  the  largest  half 


PROGRESS  OF  ELIJAH. 


359 


of  the  second  are  finely  rounded  off.  The  second  part 
begins  with  the  words  of  the  queen,  So  let  the  gods 
do  to  me,  and  more  also,”  etc.  (1  Kings  xix.  2);  and 
the  next  words  about  which  I feel  secure  are  those  in 
the  scene  in  the  wilderness  (same  chapter,  fourth  and 
following  verses)  ; but  between  these  I want,  first^ 
something  more  particularly  characteristic  of  the  perse- 
cution of  the  prophet ; for  example,  I should  like  to 
have  a couple  of  choruses  against  him,  to  describe  the 
people  in  their  fickleness  and  their  rising  in  opposition 
to  him  ; secondly^  a representation  of  the  third  verse  of 
the  same  passage ; for  instance,  a duett  with  the  boy, 
who  might  use  the  words  of  Euth,  Where  thou  goest, 
I will  go,”  etc.  But  what  is  Elijah  to  say  before  and 
after  this  ? and  what  could  the  chorus  say  ? Can  you 
furnish  me  with,  first,  a duett,  and  then  a chorus  in  this 
sense  ? Then,  till  verse  15,  all  is  in  order ; but  there  a 
passage  is  wanted  for  Ehjah,  something  to  this  effect : — 
Lord,  as  Thou  wiliest,  be  it  with  me;”  (this  is  not  in 
the  Bible,  I believe  ?)  I also  wish  that  after  the  mani- 
festation of  the  Lord  he  should  announce  his  entire 
submission,  and  after  aU  this  persecution  declare  him- 
self to  be  entirely  resigned,  and  eager  to  do  his  duty. 
I am  in  want,  too,  of  some  words  for  him  to  say  at,  or 
before,  or  even  after  his  ascension,  and  also  some  for  the 
chorus.  The  chorus  sings  the  ascension  historically 
with  the  words  from  2 Kings  ii.  11,  but  then  there 
ought  to  be  a couple  of  very  solemn  choruses.  God 
is  gone  up”  will  not  do,  for  it  was  not  the  Lord,  but 
Elijah  who  went  up ; however,  something  of  that  sort. 
I should  hke  also  to  hear  Elijah’s  voice  once  more  at 
the  close. 


Mendelssohn’s  letters. 


mo 

(May  Elisha  sing  soprano  ? or  is  this  inadmissible,  as 
in  the  same  chapter  he  is  described  as  a “ bald  head”? 
Joking  apart,  must  he  appear  at  the  ascension  as  a pro- 
phet, or  as  a youth  ?) 

Lastly,  the  passages  which  you  have  sent  for  the 
close  of  the  whole  (especially  the  trio  between  Peter, 
John,  and  James)  are  too  historical  and  too  far  removed 
from  the  grouping  of  the  (Old  Testament)  story;  still 
I could  manage  with  the  former,  if,  instead  of  the  trio, 
I could  make  a chorus  out  of  the  words ; it  would  be 
very  quickly  done,  and  this  will  probably  be  the  case. 
I return  you  the  pages  that  you  may  have  every  neces- 
sary information,  but  pray  send  them  back  to  me. 
You  will  see  that  the  bearing  of  the  whole  is  quite 
decided ; it  is  only  the  lyric  passages  (from  which  arias, 
duetts,  etc.,  could  be  composed)  which  fail  towards  the 
end.  So  I beg  you  wiU  get  your  large  Concordance, 
open  it,  and  bestow  this  time  on  me,  and  when  I return 
three  weeks  hence  at  latest,  let  me  find  your  answer. 
Continue  your  regard  for  your 

Felix. 


To  I.  Moscheles,  London. 

Leipzig,  JuDe  26th,  1846. 

My  dear  Friend, 

The  cause  of  this  letter  is  a line  in  a recent  com- 
munication from  Mr.  Moore,  who  writes,  “ Nearly  the 
whole  of  the  Philharmonic  band  are  engaged;*  a 

* For  the  Musical  Festival  in  Birmingham,  where  “-Elijah”  was  per 
formed  for  the  first  time. 


BIRMINGKAM  MUSICAL  FESTIVAL. 


361 


few  only  are  left  out  who  made  themselves  unpleasant 
when  you  were  there.”*  This  is  anything  but  pleas- 
ing to  me,  and  as  I think  that  you  have  the  princi- 
pal regulation  of  such  things,  I address  my  remon- 
strance to  you,  and  beg  you  to  mention  them  to  Mr. 
Moore. 

Nothing  is  more  hateful  to  me  than  the  revival  of  old 
worn-out  squabbles ; it  is  quite  bad  enough  that  they 
should  ever  be  in  the  world  at  all.  Those  of  the  Phil- 
harmonic I had  quite  forgotten,  and  they  must  on  no 
account  have  any  influence  on  the  engagements  for  the 
Birmingham  Festival.  If  people  are  left  out  because 
they  are  incapable,  that  is  no  affair  of  mine,  and  I have 
nothing  to  say  against  it ; but  if  any  one  is  to  be  left 
out  because  he  made  himself  unpleasant”  to  me,  I 
should  consider  it  a piece  of  injustice,  and  beg  that  this 
may  not  be  the  case.  There  is  certainly  no  cause  to 
fear  that  those  gentlemen  will  again  be  troublesome ; 
at  least,  I feel  none,  and  do  not  believe  that  any  one 
can  do  so.  So  I beg  you  earnestly  to  let  the  affair  pro- 
ceed exactly  as  it  would  have  done  if  I had  no  thoughts 
of  coming  to  England  ,*  and  if  it  be  really  desired  to 
show  me  consider ation^  the  greatest  favour  that  can  be 
conferred  on  me  would  be  not  to  take  notice  of  any  such 
personal  considerations. 

I know  you  will  be  so  good  as  to  bring  this  subject 
under  the  notice  of  Mr.  Moore,  and  I hope  I shall  hear 
nothing  further  of  these  obsolete  stories ; that  is,  if  my 
wishes  are  complied  with,  and  no  hind  of  vindictiveness 

* In  relation  to  a couple  of  members  of  the  orchestra,  who  took  the 
liberty  to  make  some  saucy  remarks  on  Mendelssohn  coming  in  rathei 
late  one  morning  to  direct  a rehearsal  at  the  Philharmonic. 

31 


362 


Mendelssohn’s  letters. 


exercised.  Otherwise  I shall  protest  against  it  ten 
times  at  least  by  letter. — ^Ever  your 

Eelix. 


To  Herr  Velten,  Garlsruhe. 

Leipzig,  July  11th,  1846. 

Sir, 

When  I received  your  letter  of  May  the  10th,  I felt 
most  anxious  to  convey  to  you  a word  of  consolation, 
and  the  assurance  of  my  heartfelt  sympathy;  but  I 
could  find  no  words  for  such  a loss  as  yours,  or  ade- 
quately express  what  I wished  to  say. 

Far  more  could  I appreciate  the  extent  of  this  loss 
when  I had  become  acquainted  with  the  musical  com- 
positions which  you  so  kindly  sent  me,  in  the  name  of 
your  deceased  son.  Every  one  who  is  in  earnest  with 
regard  to  Art  must  indeed  mourn  with  you,  for  in  him 
a true  genius  has  passed  away,  a genius  that  only  re- 
quired life  and  health  to  be  developed,  and  to  be  a 
source  of  joy  and  pride  to  his  family,  and  a benefit  to 
Art.  How  very  superior  many  of  these  works  are  to 
those  we  every  day  see,  even  by  better  musicians,  and 
how  there  shines  forth,  in  every  part,  a striving  after 
progress,  and  the  promise  (<f  a genuine  vocation,  along 
with  the  most  perfect  development  I And  all  this  was 
not  to  be ! and  everything  in  Art  and  in  life  remains  so 
inscrutable  ? And  thus  we  lament  him,  who  only  know 
a few  compositions  of  this  young  artist ; so  how  could 
suitable  words  of  comfort  be  found  for  you,  his  father  ? 

But  I must  thank  you  for  having  made  me  acquainted 


FIRST  PERFORMANCE  OF  “ELIJAH. 


363 


with  those  works,  and  for  having  written  me  those 
few  lines ; and  I will  waft  my  thanks  after  your  son 
also,  for  having  destined  these  works  for  me.  May 
Heaven  grant  you  consolation,  and  alleviate  your  grief, 
and  one  day  permit  you  to  rejoin  your  son,  where  it  is 
\o  be  hoped  there  is  still  music,  but  no  more  sorrow  or 
partings. — Yours, 

Felix  Mendelssohn  Bartholdy. 


To  Paul  Mendelssohn  Bartholdy. 

Birmingham,  August  26th,  1846. 

My  dear  Brother, 

From  the  very  first  you  took  so  kind  an  interest  in 
my  “ Elijah,”  and  thus  inspired  me  with  so  much  energy 
and  courage  for  its  completion,  that  I must  write  to 
tell  you  of  its  first  performance  yesterday.  Ho  work 
of  mine  ever  went  so  admirably  the  first  time  of  execu- 
tion, or  was  received  with  such  enthusiasm,  by  both 
the  musicians  and  the  audience,  as  this  oratorio.  It 
was  quite  evident  at  the  first  rehearsal  in  London,  that 
they  liked  it,  and  liked  to  sing  and  to  play  it ; but  I 
own  I was  far  from  anticipating  that  it  would  acquire 
such  fresh  vigour  and  impetus  at  the  performance.  Had 
you  only  been  there ! During  the  whole  two  hours 
and  a half  that  it  lasted,  the  large  hall,  with  its  two 
thousand  people,  and  the  large  orchestra,  were  all  so 
fully  intent  on  the  one  object  in  question,  that  not  the 
slightest  sound  was  to  be  heard  among  the  whole 
audience,  so  that  I could  sway  at  pleasure  the  enor- 
mous orchestra  and  choir,  and  also  the  organ  accompa- 


364 


Mendelssohn’s  letters. 


niments.  How  often  I thought  of  you  during  the 
time  I More  especially,  however,  when  the  “ sound 
of  abundance  of  rain”  came,  and  when  they  sang  and 
played  the  final  chorus  with  furore^  and  when,  after 
the  close  of  the  first  part,  we  were  obliged  to  repeat 
the  whole  movement.  Not  less  than  four  chorused 
and  four  airs  were  encored,  and  not  one  single  mistake 
occurred  in  the  whole  of  the  first  part;  there  were 
some  afterwards  in  the  second  part,  but  even  these 
were  but  trifling.  A young  English  tenor  sang  the 
last  air  with  such  wonderful  sweetness,  that  I was 
obliged  to  collect  all  my  energies  not  to  be  affected,  and 
to  continue  beating  time  steadily.  As  I said  before, 
had  you  only  been  there  I But  to-morrow  I set  off  on 
my  journey  home.  We  can  no  longer  say,  as  Groethe 
did,  that  the  horses’  heads  are  turned  homewards,  but 
I always  have  the  s^me  feeling  on  the  first  day  of  my 
journey  home.  I hope  to  see  you  in  Berlin  in  October, 
when  I shall  bring  my  score  with  me,  either  to  have  it 
performed,  or  at  all  events  to  play  it  over  to  you,  and 
Fanny,  and  Kebecca,  but  I think  probably  the  former 
(or  rather  both).  Farewell,  my  dear  Brother;  if  this 
be  dull,  pray  forgive  it.  I have  been  repeatedly  inter 
rupted,  and  in  fact  it  should  only  contain  that  I thank 
you  for  having  taken  such  part  in  my  “Elijah,”  and 
having  assisted  me  with  it. — Your 

Felix. 

After  the  first  performance  of  the  “ Elijah  ” in  Lon- 
don, Prince  Albert  wrote  the  following  in  the  book  of 
words  which  he  used  on  that  occasion,  and  sent  it  to 
Mendelssohn  as  a token  of  remembrance : — “ To  the 


SUCCESS  OF  “ELIJAH. 


365 


noble  artist  who,  though  encompassed  by  the  Baal- 
worship  of  false  art,  by  his  genius  and  study  has  suc- 
ceeded, like  another  Elijah,  in  faithfully  preserving  the 
worship  of  true  art;  once  more  habituating  the  ear, 
amid  the  giddy  whirl  of  empty,  frivolous  sound,  to  the 
pure  tones  of  sympathetic  feeling  and  legitimate  har- 
mony ; — to  the  great  master  who,  by  the  tranquil  cur- 
rent of  his  thoughts,  reveals  to  us  the  gentle  whisper- 
ings, as  well  as  the  mighty  strife  of  the  elements, — to 
him  is  this  -written  in  grateful  remembrance,  by 

“ Albert. 

“ Buckingham  Palace^ 


To  Frau  Doctorin  Freue,  Leipzig. 

London,  August  Blst,  1846. 

Dear  Lady, 

You  have  always  shown  such  kind  sympathy  in  my 
“ Elijah,”  that  I may  well  consider  it  incumbent  on  mo 
to  write  to  you  after  its  performance,  and  to  give  you 
a report  on  the  subject.  If  this  should  weary  you,  you 
have  only  yourself  to  blame  ; for  why  did  you  allow  me 
to  come  to  you  with  the  score  under  my  arm,  and  play  to 
you  those  parts  that  were  half  completed,  and  why  did 
you  sing  so  much  of  it  for  me  at  sight?  Indeed,  on 
this  account  you  in  turn  should  have  considered  it  in- 
cumbent on  you  to  go  with  me  to  Birmingham ; for  it 
is  not  fair  to  make  people’s  mouths  water,  and  to  dis- 
gust them  with  their  condition,  when  you  cannot 
remedy  it  for  them ; and  really  the  state  in  which  I 
31* 


366 


Mendelssohn’s  letters. 


found  the  soprano  solo  parts  here  was  most  truly  misera- 
ble and  forlorn. 

There  was,  however,  so  much  that  was  good  to  make 
up  for  this,  that  I shall  bring  back  with  me  a very  de- 
lightful impression  of  the  whole ; and  I often  thought 
what  pleasure  it  would  have  caused  you. 

The  rich,  full  sounds  of  the  orchestra  and  the  huge 
organ,  combined  with  the  powerful  choruses  who  sang 
with  honest  enthusiasm,  the  wonderful  resonance  in  the 
grand  giant  hall,  an  admirable  English  tenor  singer; 
Staudigl,  too,  who  took  all  possible  pains,  and  whose 
talents  and  powers  you  already  well  know,  and  in  addi- 
tion a couple  of  excellent  second  soprano  and  contralto 
solo  singers ; all  executing  the  music  with  peculiar 
spirit,  and  the  utmost  fire  and  sympathy,  doing  justice 
not  only  to  the  loudest  passages,  but  also  to  the  softest 
pianos^  in  a manner  which  I never  before  heard  from 
such  masses,  and,  in  addition,  an  impressionable,  kindly, 
hushed,  and  enthusiastic  audience, — all  this  is  indeed 
sufficient  good  fortune  for  a first  performance.  In  fact, 
I never  in  my  life  heard  a better,  or  I may  say  so  good 
a one,  and  I almost  doubt  whether  I shall  ever  again 
hear  one  equal  to  it,  because  there  were  so  many 
favourable  combinations  on  this  occasion.  Along, 
however,  with  so  much  light,  as  I before  said,  there 
were  also  shadows,  and  the  worst  was  the  soprano 
part.  It  was  all  so  neat,  so  pretty,  so  elegant,  so  slo- 
venly, so  devoid  both  of  soul  and  head,  that  the  music 
acquired  a kind  of  amiable  expression,  which  even  now 
almost  drives  me  mad  when  I think  of  it.  The  voice 
of  the  contralto,  too,  was  not  powerful  enough  to  fill 
the  hall,  or  to  make  itself  heard  beside  such  masses,  and 


BIRMINGHAM  MUSICAL  FESTIVAL.  367 

sucli  solo  singers;  but  she  sang  exceedingly  well  and 
musically,  and  in  that  case  the  want  of  voice  can  be 
tolerated.  At  least  to  me,  nothing  is  so  repugnant  in 
music  as  a certain  cold,  soulless  coquetry,  which  is  in 
itself  so  unmusical,  and  yet  so  often  adopted  as  the 
basis  of  singing,  and  playing,  and  music  of  all  kinds.  It 
is  singular  that  I find  this  to  be  the  case  much  less 
even  with  Itahans  than  with  us  Grermans.  It  seems  to 
me  that  our  countrymen  must  either  love  music  in  all 
sincerity,  or  they  display  an  odious,  stupid,  and  affected 
coldness,  while  an  Italian  throat  sings  just  as  it  comes, 
in  a straightforward  way,  though  perhaps  for  the  sake 
of  money, — but  still  not  for  the  sake  of  money,  and 
esthetics,  and  criticism,  and  self-esteem,  and  the  right 
school,  and  twenty-seven  thousand  other  reasons,  none 
of  which  really  harmonize  with  their  real  nature.  This 
struck  me  very  forcibly  at  the  Musical  Festival.  Mos- 
cheles  was  ill  on  the  Monday,  so  I conducted  the  re- 
hearsals for  him.*  Towards  ten  o’clock  at  night,  when 
I was  tired  enough,  the  Italians  lounged  quietly  in, 
with  their  usual  cool  nonchalance.  But  from  the  very 
first  moment  that  Grisi,  Mario,  and  Lablache  began  to 
sing,  I inwardly  thanked  God.  They  themselves  know 
exactly  what  they  intend,  sing  with  purity  and  in  time, 
and  there  is  no  mistaking  where  the  first  crotchet 
should  come  in.  That  I feel  so  little  sympathy  for 
their  music  is  no  fault  of  theirs.  But  this  digression  is 
out  of  place  here.  I wished  to  tell  you  about  the  Bir- 
mingham Musical  Festival,  and  the  Town  Hall,  and 
here  I am  abusing  the  musical  execution  of  our  country- 


* Mos^heles  recovered  sufficiently  to  direct  the  rest  of  the  perform 
ances  at  the  festival,  excejjt  “ Elijah.” 


368 


Mendelssohn’s  letters. 


men.  You  will  say,  I have  often  enough,  and  too 
often,  been  obliged  to  listen  to  you  on  that  subject 
already.  So  I prefer  reserving  all  further  description 
of  the  festival  till  I can  relate  it  to  you  in  your  own 
room. 

% 

May  I soon  meet  you  in  health  and  happiness,  and 
find  you  unchanged  in  kindly  feelings  towards  myself. 
— Your  devoted 

¥elix  Mendelssohn  Bartholdy. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig,  October  31st,  1846. 

My  dear  Brother, 

From  my  only  being  able  to-day  to  wish  you  joy  of 
yesterday,  that  is,  in  writing  and  by  words,  you  will  at 
once  see  that  I have  even  more  than  my  full  share  of 
affairs  at  this  moment.  What  I wish  most  to  do,  j 
cannot  accomplish  all  day  long,  and  what  I most  par- 
ticularly dislike  often  occupies  my  whole  day, — but  no 
more  Jeremiades^  and  now  for  true  heartfelt  good 
wishes.  A thousand  good  wishes,  which  may  all  be 
summed  up  in  one, — health  for  you  and  yours,  and  all 
those  you  love ; in  this  wish  lies  the  continuance  of 
your  happiness,  in  this  lies  your  enjoyment  of  it,  in  this 
lies  all  that  is  good,  all  that  I can  possibly  desire  for 
you,  and  no  human  being  could  possibly  wish  or  desire 
anything  better  for  any  man.  Were  you  very  happy 
on  the  day  ? were  all  your  family  well  ? (this,  however, 
is  included  in  my  previous  question ;)  had  you  a cake 


PLANS  FOR  THE  FUTURE. 


369 


decorated  with  lights?  This  is  certainly  an  entirely 
novel  question,  but  not  absolutely  indispensable  to  the 
happiness  of  life  (like  the  last).  Did  you  drink  choco- 
late ? were  my  sisters  with  you,  or  you  with  them,  at 
dinner  or  supper?  did  you  think  of  us?  May  Grod 
bless  you,  my  dear  Brother,  on  that  day,  and  on  every 
day  of  your  life  I 

It  is  shameful  in  me,  not  to  have  thanked  you  yet  for 
the  beautiful  copy  of  Dahlmann,  but  it  is  still  more 
shameful  that  such  ordinary — not  extraordinary — but 
honest,  able,  true  words,  are  so  seldom  to  be  met  with 
in  our  Fatherland ; and  the  cause  of  this  is,  that  medio- 
crity, or,  what  is  still  worse,  vapid  superficiality,  is  so 
prevalent  in  G-ermany,  parading  itself  till  we  would 
fain  drive  out  of  sight;  and  this  is  also  why  I have 
been  hitherto  prevented  from  even  thanking  you.  I 
never  yet  encountered  such  an  accumulation  of  stran- 
gers, of  inquiries  and  proposals,  and  almost  all  entirely 
worthless ; many  so  modest — and  many  so  immodest  I 
Singers,  players,  a fine  heap  of  compositions,  and 
scarcely  one  that  can  be  called  even  tolerably  good,  but 
at  the  same  time  overflowing  with  the  longest  words, 
full  of  patriotic  ardour,  full  of — anything  but  striving 
after  higher  aims,  though  laying  claim  to  the  highest 
of  all ; and  then  the  impossibility  of  fulfilling  even  one 
of  these  demands  with  a good  conscience,  or  recom- 
mending them  to  others.  But  why  should  I tell  you 
all  this  ? you,  no  doubt,  know  it  by  experience  in  your 
own  department,  for  it  pervades  every  department. 
All  this,  however,  confirms  me  in  my  resolution  not  to 
continue  in  this  public  official  situation  more  than  a 
few  years ; and  just  as  it  formerly  was  my  duty  to  fill 


370 


Mendelssohn's  letters. 


such  an  office  to  tlie  best  of  my  ability,  it  is  now  equally 
my  duty  to  give  it  up.  Everything  here  is  gradually 
assuming  a pleasant  aspect.  Moscheles  has  set  to  work 
very  vigorously  with  the  Conservatorium ; the  con- 
certs also  pursue  their  steady  course  now  as  ever; 
when  all  this  is  secure  and  certain,  I daily  meditate  on 
the  possibility  of  being  able  to  pass  the  summer  in  some 
pretty  country  (somewhere  near  the  Rhine),  and  the 
winter  in  Berlin,  and  this  I hope  to  be  able  to  do,  with- 
out any  public  duties  to  perform  in  Berlin,  and  without 
all  that  has  now  irrevocably  passed  away  there;  I 
intend  to  live  entirely  with  you  in  all  happiness,  and  to 
write  music.  Ainsi  soit-il, 

I should  have  been  glad  to  bring  the  Elijah  ” with 
me,  but  I am  still  at  work  on  two  passages,  which  I am 
striving  to  remodel,  and  they  cause  me  great  tribula- 
tion. In  the  mean  time,  I have  been  obliged  to  com- 
pose afresh  the  whole  Liturgy  for  the  King.  He  has 
desired  that  I should  be  repeatedly  written  to  on  the 
subject,  and  now  at  last  it  is  finished.  I am  often,  too, 
in  no  happy  mood,  for  poor  Johann*  is  very  seriously 
ill,  and  causes  us  really  very  great  anxiety.  “ May  I 
be  so  bold  as  to  ask  who  is  to  play  the  part  of  the  ser- 
vant?” says  Groethe,  and  lately  these  words  often 
recurred  to  me.  May  Grod  soon  restore  the  poor  faith- 
ful fellow  I Love  me  as  ever,  and  may  you  be  happy 
in  the  approaching  year. — ^Your 

Felix, 


Mendelssohn’s  BervAnt. 


REVISION  OF  “ELIJAH.’ 


371 


To  Professor  Edward  Bendemann. 

Leipzig,  November  8th,  1846. 

. . . Have  I already  thanked  you  for  your  excellent 
contributions,  and  advice  about  “Elijah”?  All  your 
notes  on  the  margin  are  most  acceptable,  and  are  a 
fresh  proof  that  you  have  not  only  a different  but  a 
much  deeper  insight  than  almost  any  one  else  into  a 
subject  of  this  kind.  You  recommend  that  the  “ Sanc- 
tus”  should  be  followed  by  the  command  of  God  to 
Elijah  to  resume  his  mission;  such  was  indeed  my 
original  intention,  and  I think  of  replacing  it,  but  I 
cannot  dispense  with  an  answer  from  Elijah ; and  I 
think  hoth  can  and  ought  to  be  there.  I shall  not, 
however,  be  able  to  bring  in  King  Ahab  again.  The 
greatest  difficulty  in  the  whole  undertaking,  was  after 
the  manifestation  of  the  Lord  in  the  “ still  small  voice,” 
to  discover  a conclusion  for  the  whole,  with  sufficient 
breadth  (and  yet  not  long);  and  if  Elijah  were  to  be 
afterwards  introduced  again  in  person  as  a zealous  and 
avenging  prophet  (in  a dramatic  aspect)  it  would  in  my 
opinion  be  difficult  to  represent,  without  great  circum- 
locution, his  significance  for  the  new  dispensation 
(which,  however,  must  necessarily  be  alluded  to),  while 
I think  it  most  important,  that  from  the  moment  of  the 
appearance  of  the  Lord,  all  should  go  on  in  grand  narra- 
tive to  the  close.  But  when  you  say  that  one  of  these 
passages  should  relate  how  he  came  ‘down,  and  again 
came  down  in  vain,  you  are  quite  right,  and  I will  try 
to  accomplish  it,  as  I am  at  this  moment  revising  the 
whole,  and  re-writing  several  passages  before  sending 


V 372 


Mendelssohn's  letters. 


it  to  the  engraver.  It  is  singular  that  tne  passage 
which  caused  me  the  greatest  trouble  is  the  very  one 
that  you  would  hke  to  see  omitted, — that  of  the  widow. 
To  me  it  seems  that  by  introducing  some  phrases 
(either  by  the  chorus  or  otherwise)  the  part  might 
become  more  significant  and  comprehensive,  whereas 
you  prefer  its  being  a simple  narrative.  After  all,  you 
are  possibly  right,  which  would  be  unfortunate,  for  I 
believe  that  in  the  distribution  of  the  whole,  the  pas- 
sage in  its  present  expansion  could  not  possibly  be 
spared.  This  is  a point,  therefore,  which  I shall  weigh 
well. 


To  Carl  Klingemann,  London. 

Leipzig,  December  6th,  1846. 

. . . Montaigne  says,  and  so  does  Yult,  that  a man 
can  have  but  one  friend ; you  will  find  this  too  in  the 
“ Flegeljahre.”  I also  said  this  from  my  heart  when  I 
received  your  letter,  my  one  friend  I 

How  gladly  would  I have  burst  forth  into  joy  and 
gratitude  at  the  news  it  contained,  and  have  rephed  in 
a gay  and  happy  spirit ! but  this  was  impossible,  as  at 
the  time  your  letter  arrived,  we  were  in  great  anxiety 
about  our  servant  J ohann,  who  had  been  confined  to 
bed  for  the  last  two  months,  with  a species  of  dropsy, 
becoming  daily  worse,  and  when,  about  a fortnight 
since,  the  improvement  took  place  that  we  had  been  so 
anxiously  longing  for  during  three  weeks,  his  vital 
powers  suddenly  sank,  and  to  our  great  sorrow  he  died. 


WILL  OF  HIS  SERVANT  JOHANN.  373 

You  know  that  I valued  him  very  highly,  and  can  well 
understand  that  during  the  whole  time  when  I saw 
him  suffer  so  much,  and  become  worse  and  worse,  and 
then  the  momentary  hope  that  ensued,  followed  by  his 
sudden  and  inevitable  death,  must  cause  me  to  be  in  a 
very  grave  mood  for  long,  long  to  come.  His  mother 
and  sister  did  not  arrive  here  till  the  day  after  his 
funeral.  It  distressed  us  also  very  much,  not  to  be  able 
to  say  one  consolatory  word  to  them  I Among  his 
things,  which  were  all  in  the  most  exemplary  order, 
we  found  a letter  to  me  containing  his  last  will;  I 
must  show  you  this  the  next  time  we  meet, — no  man, 
no  poet  indeed,  could  have  writt^  anything  more 
heartfelt,  earnest,  and  touching ; then  there  was  a 
great  deal  to  do  and  to  regulate,  until  all  the  trunks, 
with  his  clothes,  etc.,  were  sent  off  to  his  mother,  and 
his  brothers  and  sisters  ; and  this  was  why  I have  been 
unable  to  write  to  you  during  the  last  few  weeks.  I 
relate  all  this  to  you  in  detail,  because  you  are  my  one 
friend,  and  because  you  sympathize  in  all  that  really 
affects  and  concerns  me.  Happily,  I was  able  to  work 
the  whole  time  (though,  indeed,  not  to  compose).  I 
got  the  parts  of  Bach’s  B minor  Mass  from  Dresden. 
(Do  you  remember  it  on  Zelter’s  Fridays  ?)  It  is 
chiefly  in  his  own  writing,  and  dedicated  to  the  Elector 
of  that  day.  To  his  Koyal  Highness  the  most  noble 
the  Elector  of  Saxony,  the  accompanying  Mass  is  dedi- 
cated, with  the  most  respectful  devotion  of  the  author, 
J.  S.  Bach.”  This  is  inscribed  on  the  title-page.)  From 
it  I have  gradually  corrected  all  the  mistakes  in  my 
score,  which  were  innumerable,  and  which  I had  fre- 
quently remarked,  but  never  had  a proper  opportunity 
32 


374 


Mendelssohn’s  letters. 


to  rectify.  This  occupation,  mechanical,  though  now 
and  then  interesting  enough,  was  most  welcome  to  me. 
For  the  last  few  days,  however,  I have  again  begun  to 
work  with  all  my  might  at  my  “ Elijah,”  and  hope  to 
amend  the  greatest  part  of  what  I thought  deficient  in 
the  first  performance.  I have  quite  completed  one  of  the 
most  difiSicult  parts  (the  widow),  and  you  will  certainly 
be  pleased  with  the  alterations, — I may  well  say,  with 
the  improvements.  “ Elijah  ” is  become  far  more  im- 
pressive and  mysterious  in  this  part,  the  want  of  which 
was  what  annoyed  me.  Unluckily  I never  find  out 
this  kind  of  thing  till  jpost  festurrij  and  till  I have  im- 
proved it.  I hop«,  too,  to  hit  on  the  true  sense  of 
other  passages  that  we  have  discussed  together,  and 
shall  seriously  revise  all  that  I did  not  deem  satisfac- 
tory ; so  that  I hope  to  see  the  whole  completely 
finished  within  a few  weeks,  and  then  be  able  to  begin 
something  new.  The  parts  that  I have  hitherto  remo- 
delled prove  to  me  that  I am  right,  not  to  rest  till  such 
a work  is  as  good  as  I can  make  it,  although  in  these 
matters  very  few  people  either  remark  or  wish  to  hear 
about  them,  and  yet  they  cost  a very,  very  great  deal 
of  time ; but,  on  the  other  hand,  such  passages  make  a 
very  different  impression  when  they  are  really  made 
better,  both  in  themselves,  and  with  regard  to  all  other 
portions, — you  see  I am  still  so  very  much  pleased  with 
the  part  of  the  widow,  that  I completed  to-day, — so  I 
think  it  will  not  do  to  rest  satisfied  with  them  just  as 
they  are.  Conscience,  too,  has  a word  to  say  on  this 
matter. 


LARGE  AND  SMAI-L  TOWNS. 


375 


To  HIS  Brother-in-Law,  Professor  Dtriohlet, 
Berlin. 


Leipzig,  January  4th,  1847. 

Dear  Dirichlet, 

I write  you  these  lines  to  say  that  I wish  for  my 
sake,  I might  say  for  your  sake  also,  that  you  should 
remain  at  Berlin.*  Jesting  apart,  I would  gladly  repeat 
in  writing,  and  at  this  new  year’s  time,  all  that  I said 
to  you  about  it  personally.  The  more  I reflect  on  this 
plan  here  (not  in  Berlin),  the  more  I feel  convinced  that 
its  execution  would  grieve  me,  first,  for  your  own  sake, 
and  secondly,  for  mine  (which  comes  to  one  and  the 
same  thing) ; for  when  I look  repeatedly  around  here, 
and  thus  try  to  discover  what  kind  of  weather  there  is 
in  Germany  (and  you  know  that  it  is  often  long,  long 
before  this  can  be  perceived  in  Berlin),  I everywhere 
see  the  current  setting  in  towards  large  cities,  but 
receding  from  the  smaller  ones.  It  might  be  said,  then, 
a residence  in  small  towns  will  now  become  really 
agreeable ; but  they,  too,  will  not  be  content  to  remain 
in  their  state  of  quiet  comfort,  but  strive  to  become 
great  cities : and  this  is  why  I could  not  see  any  one, 
far  less  yourself,  leave  a large  city  at  this  moment  to 
settle  in  a small  one,  without  the  most  extreme  con- 
cern. There  are  a thousand  wants,  both  material  and 
spiritual,  which  these  smaller  places  are  at  this  moment 
seeking  to  supply  (thus  making  these  wants  only  more 
perceptible),  a thousand  pleasant  things  in  life  and 
knowledge, — all  linked  for  many  long  years  with  your- 


Dirichlet  was  engaged  in  a negotiation  about  a situation  at  Heidel 


376 


Mendelssohn’s  letters. 


self  and  with  Rebecca’s  early  days, — which  you  value 
less  than  they  deserve,  because  you  have  always  been 
accustomed  to  have  things  in  one  fashion  and  in  no 
other,  and  because  you  are  uneasy  about  the  present, 
and  dissatisfied  with  what  is  going  on.  But,  in  truth, 
you  will  find  the  same  uneasiness,  and  the  same  dis- 
satisfaction, prevailing  everywhere  through  all  Ger- 
many ; at  present,  indeed,  only  in  those  whom  you 
meet,  and  not  in  yourself,  the  new-comer ; but,  alas  1 
alas  I in  these  days  such  contamination  spreads  hourly 
in  our  Fatherland,  where  these  evils  daily  strike  deeper 
root,  and  you  will  and  must  experience  them  also, 
wherever  you  go,  and  not  in  any  respect  improve  your 
condition  in  this  chief  point.  By  your  change  of  resi- 
dence, you  cannot  efiect  any  cure  in  the  prevailing  ma- 
lady, and  I as  little  with  my  subscription  concerts ; it 
can  only  be  done  by  very  different  means,  or  by  a very 
sharp  crisis ; and,  in  any  event,  it  would  then  be  best 
not  to  be  placed  in  new,  but  in  old  familiar  circum- 
stances. A third  thing  may  happen,  and,  alas  I not 
the  most  improbable ; all  may  remain  in  its  old  form. 
In  that  case  also,  however,  it  is  best  not  to  begin  a new 
life,  which  holds  out  no  prospect  of  any  improvement 
in  itself.  I do  wish,  then,  that  you  would  remain  in 
Berlin. 

That  you,  by  any  kind  of  promise,  however  well 
meant  or  positive,  are  now  in  the  hands  of  the  people 
of  Heidelberg,  and  must  say  Yes,  if  they  say  Yes  also,  I 
cannot  believe.  Such  a connection  as  yours  with  Ber- 
hn  is  not  to  be  dissolved  by  a letter  and  a few  words ; 
and  if  these  people  believe  that  by  your  answer  they 
have  acquired  any  right  over  you,  it  is  not  to  be  denied 


PLANS  FOR  THE  FUTURE. 


377 


that  the  others  have  at  least  an  equal  right.  Simply 
from  an  overweening  sense  of  justice,  and  from  too 
much  dehcacy,  a person  often  chooses  that  which  costs 
him  the  greatest  sacrifice,  and  thus,  I believe,  you 
would  at  last  rather  choose  Heidelberg ; but  they  will 
not  be  sensible  of  this ; they  only  wish  to  conclude  a 
bargain,  and  you  must  do  the  same,  and  no  more.  In 
the  mean  wliile  they  have  the  proe^  because  they  wish 
to  acquire  something  new  for  themselves,  and  the  peo- 
ple of  Berlin  only  to  keep  what  they  have,  and  the 
former  is  always  more  tempting  and  pleasant ; but,  as 
I said  before,  it  is  a mere  matter  of  business, — do  not 
forget  that ; and  you  know  quite  as  well  as  I do  that 
all  the  Berliners  are  anxious  to  keep  you.  Forgive  my 
strange  lecture,  but  remain. 

I ask  it  for  my  sake  also ; for  I have  now,  I may  say, 
decided  soon  to  go  for  the  winter  to  Berfin.  Don’t  let 
us  play  at  the  game  of  change  sides.”  I preferred  a 
residence  in  a smaller  town,  under  very  favourable  cir- 
cumstances ; I always  liked  it,  and  am  accustomed  to 
no  other,  and  yet  I feel  compelled  to  leave  it,  to  rejoin 
those  with  whom  I enjoyed  my  childhood  and  youth, 
and  whose  memories  and  friendships  and  experiences 
are  the  same  as  my  own.  My  plan  is,  that  we  should 
form  all  together  one  pleasant  united  household,  such  as 
we  have  not  seen  for  long,  and  live  happily  together 
(independent  of  political  life  or  non-life^  which  has 
swallowed  up  all  else).  For  some  time  past  everything 
seems  to  contribute  to  this,  and,  as  I said,  I shall  not 
be  found  wanting,  for  I consider  it  the  greatest  possible 
good  fortune  that  could  ever  befall  me  ; so  do  not  frus- 
trate all  this  by  one  blow,  but  remain  in  Berlin,  and 
32* 


378 


Mendelssohn’s  letters. 


let  us  be  together  there.  These  are  my  reasons,  badly 
expressed,  but  better  intended  than  expressed;  and 
don’t  take  this  amiss. — Your 

Felix. 


To  Frau  Geheimerathin  Steffens,*  nee  Reichardt. 
Berlin. 


LeipziKt  February,  1847. 

Dear  Madam, 

When  I meet  any  one  who  knew  my  Father,  and 
who  loved  and  esteemed  him  as  he  deserved,  I imme- 
diately look  on  such  a one  as  a friend,  and  not  as  a 
stranger,  and  a meeting  of  this  kind  always  makes  me 
glad  and  happy.  As  you  no  doubt  feel  the  same,  I 
trust  you  will  excuse  the  liberty  I take  in  addressing 
you.  I wish  to  relate  to  you  how  touched  and  delighted 
the  friends  of  music  in  Leipzig  were  yesterday  by  the 
composition  of  your  father;  we  felt  as  if  his  spirit  were 
still  living  and  working  among  us,  and  indeed  it  is  so. 
In  the  concert  of  yesterday  (which,  like  the  previous 
and  both  the  ensuing  ones,  was  dedicated  to  a kind  of 
historical  succession  of  the  great  masters)  there  was  an 
opportunity  of  bringing  before  the  public  some  of  your 
father’s  songs.  A symphony  of  Haydn’s  was  followed 
by  the  Reichardt  song,  “ Dem  Schnee,  dem  Regen,” 
and  his  duett,  “ Ein  Yeilchen  auf  der  Wiese  stand;” 

* Daughter  of  the  distinguished  composer  Reichardt,  and  widow  of 
Prof.  Heinrich  Steffens,  whose  delightful  autobiography  has  been  trans- 
lated by  Rev.  W.  L.  Gage,  and  published  in  Boston  (Gould  & Lmcoin,' 
under  the  title  of  “ The  Story  of  my  Cai’eer.” 


reichardt’s  songs. 


379 


and  then  the  same  poem  set  to  music  by  Mozart.  You 
will  perceive  that  your  father’s  music  was  by  no  means 
in  a very  easy  proximity,  but  I wish  you  could  have 
heard  how  he  maintained  his  honourable  position.  The 
very  first  song  sounded  charming  and  effective;  but 
when  the  little  duett  was  given  by  two  very  fresh 
pure  voices,  in  great  simplicity  and  perfection,  many  a 
lover  of  music  could  not  suppress  his  tears,  so  charming 
and  genial  was  that  music,  so  genuine  and  touching. 
Such  applause  as  we  seldom  hear,  and  a da  capo  of  aU 
three  verses,  followed  as  a matter  of  course.  This  was 
not  for  a moment  doubtful  after  the  three  first  bars  had 
been  sung,  and  I felt  as  if  I could  not  only  listen  to  the 
song  twice,  but  during  the  whole  evening,  and  to 
nothing  else.  It  was  the  true  genuine  German  song, 
such  as  no  other  nation  has,  but  even  ours  nothing  bet- 
ter ; perhaps  grander,  certainly  more  complicated,  more 
elaborate,  and  more  artificial,  but  not  on  that  account 
more  artistic, — thus,  not  better.  This  must  happily  be 
the  case  for  aU  time,  and  it  must  cause  you  much  joy 
thus  once  more  to  meet  your  father’s  spirit  in  its  still 
living  influence ; for  many  a young  musician  who 
heard  his  music  yesterday  (if,  indeed,  he  can  feel  such 
things  at  aU)  will  now  know  better  what  a song  should 
be,  than  from  all  the  books  of  instruction,  all  the  lec- 
tures, and  all  the  examples  of  the  present  day  ; “ and 
thus  is  fife  won,”  as  Goethe  says.  Forgive  me  for 
writing  nothing  in  this  letter,  except  that  the  Eeichardt 
songs  were  so  lovely,  and  the  Leipzig  public  so  en- 
chanted. The  first  you  have  long  known,  though  the 
second  in  itself  may  be  a matter  of  indifference  ; but  as 
T was  seated  at  the  piano  accompanying  yesterday  and 


380 


MENDELSSOHN  S LETTERS. 


feeling  such  delight,  I said  to  myself  that  I must  write 
to  you  about  it. 

Begging  you  to  recall  me  to  the  remembrance  of 
your  daughter,  I am  your 

Felix  Mendelssohn  Bartholdy.* 


To  HIS  Nephew,  Sebastian  Hensel. 

Leipzig,  February  22d,  1847. 

Dear  Sebastian, 

I thank  you  very  much  for  the  drawing,  which,  as 
your  own  composition,  pleases  me  extremely,  especially 
the  technical  part,  in  which  you  have  made  great  pro- 
gress. If,  however,  you  intend  to  adopt  painting  as  a 
profession,  you  cannot  too  soon  accustom  yourself  to 
study  the  meaning  of  a work  of  art  with  more  earnest- 
ness and  zeal  than  its  mere  form^ — that  is,  in  other 
words  (as  a painter  is  so  fortunate  as  to  be  able  to 
select  visible  nature  herself  for  his  substance),  to  con- 
template and  to  study  nature  most  lovingly,  most 
closely,  most  innately  and  inwardly,  all  your  life  long. 
Study  very  thoroughly  how  the  outer  form  and  the 
inward  formation  of  a tree,  or  a mountain,  or  a house 
always  must  look,  and  how  it  can  be  made  to  look,  if  it 
is  to  be  beautiful,  and  then  produce  it  with  sepia  or 
oils,  or  on  a smoked  plate  ; it  will  always  be  of  use,  if 
only  as  a testimony  of  your  love  of  substance.  You 
will  not  take  amiss  this  httle  sermon  from  such  a 
screech-owl  as  I often  am,  and,  above  all,  do  not  forget 


See  letter  about  Reichardt,  of  December  28,  1833. 


DEATH  OF  HIS  SISTER. 


381 


the  substance ; as  for  the  form  (my  lecture),  the  devil 
may  fly  avray  with  it,  it  is  of  very  little  value. 

Tell  your  mother  that  I quite  agree  with  her  about 
the  scherzo.  Perhaps  she  may  one  day  compose  a 
scherzo  serioso ; there  may  be  such  a thing. — Your 
Uncle, 

Felix  M.  B. 


To  General  von  Webe'rn,  Berlin.* 

Frankfort,  May  24th,  1847. 

Your  letter  did  me  good,  even  in  the  depths  of  my 
sorrow,  when  I received  it ; above  all,  your  hand-writ- 
ing, and  your  sympathy,  and  every  single  word  of 
yours.  I thank  you  for  it  all,  my  dear,  kind,  faithful 
friend.  It  is  indeed  true  that  no  one  who  ever  knew 
my  sister  can  ever  forget  her  through  life ; but  what 
have  not  we,  her  brothers  and  sister,  lost ! and  I more 
especially,  to  whom  she  was  every  moment  present  in 
her  goodness  and  love ; her  sympathy  being  my  first 
thought  in  every  joy;  whom  she  ever  so  spoiled,  and 
made  so  proud,  by  all  the  riches  of  her  sisterly  love, 
which  made  me  feel  all  was  sure  to  go  well,  for  she  was 
ever  ready  to  take  a full  and  loving  share  in  all  that 
concerned  me.  All  this  I believe  we  cannot  yet  esti- 
mate, just  as  I still  instinctively  believe  that  the  mourn- 
ful intelligence  will  be  suddenly  recalled,  and  then  again 
I feel  that  it  is  true, — but  never,  never  can  I inure  my- 
self to  it  I It  is  consolatory  to  think  of  such  a beauti- 
ful, harmonious  nature,  and  that  she  has  been  spared 


* After  Fanny  Hcnsel’s  death. 


382 


MENDf:LSSOHN’s  LETTERS. 


all  the  infirmities  of  advanced  age  and  declining  life; 
but  it  is  hard  for  us  to  bear  such  a blow  with  proper 
submission  and  fortitude. 

Forgive  me  for  not  being  able  to  say  or  write  much, 
but  I wished  to  thank  you. 

My  family  are  all  well ; the  happy,  unconcerned, 
cheerful  faces  of  my  children  alone  have  done  me  good 
in  these  days  of  sorrow.  I have  not  as  yet  been  able 
to  think  of  music;  when  I try  to  do  so,  all  seems 
empty  and  desolate  within  me.  But  when  the  children 
come  in  I feel  less  sad,  and  I can  look  at  them  and  lis- 
ten to  them  for  hours. 

Thanks  for  your  letter ; may  Heaven  grant  health  to 
you,  and  preserve  all  those  you  love. — Your 

Felix  M.  B. 


To  HIS  Hephew,  Sebastian  Hensel. 

Baden-Baden,  June  13th,  1847. 

Dear  Sebastian, 

I must  send  you  my  good  wishes  on  your  birthday, 
the  most  mournful  one  you  have  yet  known.  The 
retrospect  of  its  celebration  last  year  will  deeply  grieve 
you,  for  then  your  mother  was  still  by  your  side  ; may, 
however,  the  anticipation  of  the  future  birthdays  which 
you  may  yet  be  spared  to  see,  comfort  and  strengthen 
you  I for  your  mother  will  stand  by  your  side  in  these 
also,  as  well  as  in  everything  that  you  do  or  fulfil. 
May  all  you  do  be  estimable  and  upright,  and  may 
your  daily  steps  be  directed  towards  that  path  to  which 


ADTICE  TO  niS  NEPHEW. 


383 


your  motlier’s  eyes  were  turned  for  you,  and  in  which 
her  example  and  her  being  went  with  you,  and  always 
will  go  with  you  so  long  as  you  remain  true  to  her, — in 
other  words,  I trust,  all  your  life  long.  Whatever 
branch  of  life,  or  knowledge,  or  work  you  may  devote 
yourself  to,  it  is  indispensable  to  will  (not  to  wish,  but 
to  will)  something  good  and  solid ; but  this  is  sufficient. 
In  all  employments  and  in  all  spheres  there  is  now  and 
always  will  be  a want  of  able  honest  workmen,  and 
therefore  it  is  not  true  when  people  declare  it  now  more 
difficult  than  formerly  to  achieve  anything.  On  the 
contrary,  in  a certain  sense,  it  is  and  always  will  be 
easy^  or  altogether  impossible  ; a genuine,  faithful  heart, 
true  love,  and  a brave,  determined  will,  are  alone 
required  for  this,  and  you  will  not  assuredly  fail  in 
these,  with  such  a bright  and  beloved  example  steadily 
shining  before  you.  And  even  if  you  foUow  this,  and 
do  all,  aU  in  your  power,  still  nothing  is  done,  nothing 
is  attained,  without  the  fulfilment  of  one  fervent  wish, 
— may  God  be  with  you  I 

This  prayer  comprises  consolation  and  strength,  and 
also  cheerfulness  in  days  to  come.  I often  long  to  be 
able  to  pass  those  days  with  you  and  your  aunt  Eebec- 
ca.  We  expect  your  father  ten  or  twelve  days  hence ; 
I wish  you  could  come  with  him,  and  we  might  sketch 
from  nature  together.  I lately  composed  a sketch  of  an 
old  mountain  castle  in  a forest,  with  a distant  view  of 
a plain  ; another  of  a terrace,  with  an  old  lime-tree  and 
an  image  of  the  Virgin  under  it ; and  a third,  of  a soli- 
tary mountain  lake  between  high  hills,  with  reeds  in 
the  foreground.  I mean  to  wash  them  in  with  Indian 
ink.  Are  you  inclined  to  try  the  same  three  subjects, 


384 


Mendelssohn’s  letters. 


that  we  may  compare  our  compositions  ? Do  so,  I beg, 
dear  Sebastian,  and  show  them  to  me  when  we  meet 
again, — soon,  very  soon,  I hope.  May  God  bless  you. 
— Ever  your 

Felix  M.  B. 


To  Kebecca  Dirichlet,  Berlin. 

Thun,  July  7th,  1847. 

Dear  Sister, 

In  your  letter  of  yesterday  to  Paul,*  you  said  you 
wished  I would  write  to  you  again ; I therefore  do  so 
to-day,  but  what  to  write  I cannot  tell.  You  have 
often  laughed  at  me  and  rallied  me  because  my  letters 
assumed  the  tone  around  me  or  within  me,  and  such  is 
the  case  now,  for  it  is  as  impossible  for  me  to  write  a 
consistent  letter  as  to  recover  a consistent  frame  of 
mind.  I hope  that  as  the  days  pass  on  they  will  bring 
with  them  more  fortitude,  and  so  I let  them  pursue 
their  course,  and  in  the  society  of  Paul,  and  in  this 
lovely  country,  they  glide  on  monotonously  and  rapidly. 

We  are  all  well  in  health,  and  sometimes  even  cheer- 
ful. But  if  I return  within  myself,  which  I am  always 
inclined  to  do,  or  when  we  are  talking  together,  the 
ground-tint  is  no  longer  there, — not  even  a black  one, 
far  less  one  of  a brighter  hue. 

A great  chapter  is  now  ended,  and  neither  the  title 
nor  even  the  first  word  of  the  next  is  yet  written.  But 

* Mendelssohn  and  his  brother,  with  their  families,  went  together  ta 
Switzerland  after  Fanny  HensePs  death. 


STORMY  WEATHER, 


385 


God  will  make  it  all  right  one  day ; this  suits  the  be- 
ginning and  the  end  of  all  chapters. 

We  intend  going  to  Interlachen  in  a few  days,  and 
towards  the  end  of  the  month  Paul  will  have  begun  his 
journey  thence  towards  home.  He  enjoys  with  me  the 
old  familiar  mountain-summits,  which  look  as  hoary  as 
five  or  twenty-five  years  ago,  and  on  which  Time 
makes  little  impression!  We  shall  probably  stay  in 
Interlachen  for  another  month,  and  establish  ourselves 
there;  I will,  and  must,  soon  attempt  once  more  to 
begin  some  regular  work,  and  should  like  to  have  made 
some  progress  in  a composition  before  my  journey 
home.  I hope  to  find  you  and  yours  in  good  health  in 
September.*  May  we  soon  meet  again,  my  dear,  good 
Sister  1 and  do  not  forget  your 

Felix  M.  B. 


To  Paul  Mendelssohn  Bartholdy. 

Interlachen,  July  19th,  1S47. 

My  dear  Brother, 

Scarcely  were  you  gone,  when  a storm  arose,  and 
the  thunder  and  rain  were  tremendous.  Then  we 
dined,  and  found  an  unfilled  place  at  table.  Then  I re- 
flected for  two  hours  on  Schiller’s  chorus  in  the  Bride 
of  Messina,”  Say  what  are  we  now  to  do  I”  and  then 
the  children  brought  the  two  enclosed  letters  for  you, 
and  said,  “ I wonder  where  our  Uncle  is  now  I ” 

But  it  is  no  longer  any  use  telling  you  such  common- 
place, indifferent  things,  and  yet  life  is  made  up  chiefly 
33 


386 


Mendelssohn’s  letters. 


of  these.  So  adieu,  till  we  meet  again  on  the  plains  oi 
on  the  mountains.  We  shall  be  as  happy  there  as  we 
were  here. 

It  is  still  thundering,  and  this  is  the  most  dreary  day 
we  have  had  here  for  many  weeks — in  every  sense ! — 
Your 

Felix. 


To  Rebecca  Dirichlet. 

Interlachen,  July  20th,  1847, 

Dear  Sister, 

When  your  dear  letter  arrived,  I was  writing  music  ; 
I force  myself  now  to  be  very  busy,  in  the  hope  that 
hereafter  I may  become  so  from  inclination,  and  that  I 
shall  take  pleasure  in  it.  This  is  “ weather  expressly 
calculated  for  writing,  but  not  for  gipsy ing.”  Since 
Paul  left  us,  the  sky  has  been  so  dismal  and  rainy  that 
I have  only  been  able  to  take  one  walk.  Since  the  day 
before  yesterday,  it  has  been  quite  cold  besides,  so  we 
have  a fire  in-doors,  and,  out-of-doors,  streaming  rain. 
But  I cannot  deny  that  I sometimes  rather  like  such 
downright,  pouring  wet  days,  which  confine  you  effec- 
tually to  the  house.  This  time  they  give  me  an  oppor- 
tunity of  passing  the  whole  day  with  my  three  elder 
children ; they  write,  and  learn  arithmetic  and  Latin 
with  me, — paint  landscapes  during  their  play-hours,  or 
play  draughts,  and  ask  a thousand  wise  questions, 
which  no  fool  can  answer  (people  generally  say  the  re- 
verse of  this,  still  it  is  so).  The  standing  reply  is,  and 
always  will  be,  You  do  not  yet  understand  such 


ANTI€IPATIONS. 


387 


things,”  which  still  vibrates  in  my  ears  from  my  own 
mother,  and  which  I shall  soon  hear  in  turn  from  my 
children,  when  they  give  their  children  the  same  an- 
swer ; and  thus  it  goes  on. 

As  for  Sebastian’s  profession,  I think  he  is  now  at 
the  age,  and  period,  when  he  is  not  likely  to  feel  con- 
viction or  enthusiasm  for  anything  that  cannot  be  laid 
hold  of  by  the  hand,  or  counted  by  numbers,  or  ex- 
pressed by  words,  and  he  must  be  kept  from  every- 
thing— as  a hfe  aim — which  might  forestal  such  convic- 
tions. He  knows  that  as  well  as  I do,  and  I have 
entire  confidence  in  his  not  choosing  any  profession 
from  which  he  wiU  hereafter  turn  aside,  or  which  might 
eventually  become  indifferent  or  wearisome  to  him. 
As  soon,  therefore,  as  I feel  secure  on  this  pointy  it  is 
quite  the  same  to  me,  what  he  may  choose  in  this  wide 
world,  or  how  high  or  how  humble  his  path  may  then 
be,  if  he  only  pursues  it  cheerfully  ! And  as  all  agree 
in  allowing  him  to  make  his  own  choice,  and  as  he  can 
now  or  never  understand  the  serious  aspect  of  hfe,  and 
as  this  earnest  feeling  is  the  affair  of  his  own  heart,  in 
which  no  one  can  assist  him,  or  advise  him,  although  it 
does  affect  each  of  us  deeply,  I believe  he  will  not  be 
found  wanting  in  this  respect,  and  will  do  well,  what 
he  settles  to  do ; that  would  be  my  suggestion  to  him, 
but,  otherwise,  not  to  offer  him  the  sHghtest  approach 
to  advice.  It  is  the  old  story  of  Hercules  choosing  his 
path,  which  for  several  thousand  years  has  always  been 
acted  once,  at  least  in  the  hfe  of  every  man ; and 
whether  the  young  maidens  be  called  Virtue  or  Vice, 
and  the  young  men  Hercules  or  not,  the  sense  remairas 
the  same. 


388 


Mendelssohn’s  letters. 


In  September,  God  willing,  I intend  to  come  to  Ber- 
lin, and  Paul  has  probably  told  you  how  seriously  I am 
occupied  with  the  thought  of  spending  my  hfe  with 
you,  my  dear  Sister  and  Brother,  and  residing  with  you, 
renouncing  all  other  considerations.  I wish  to  live 
with  you,  and  never  did  I feel  this  more  vividly  than 
when  the  steamboat  set  off  to  Thun  with  Paul  and  his 
family,  and  Hensel ; and,  strangely  enough  (either  for 
this  reason,  or  in  spite  of  it),  it  is  almost  impossible  for 
me  at  this  time  to  be  with  strangers.  There  is  no  lack 
of  visitors  here,  both  musical  and  others;  scarcely  a 
single  day  lately  has  passed  without  one,  or  several; 
but  they  all  seem  to  me  so  empty  and  indifferent,  that 
I,  no  doubt,  must  appear  in  the  same  hght  to  them,  so  I 
heartily  wish  that  we  may  soon  part,  and  remain  apart ; 
and  in  the  midst  of  all  the  phrases,  and  inquiries,  and 
speechifying,  one  thought  is  always  present  with  me, — 
the  shortness  of  life ; and,  in  fact,  I hope  we  shall  soon 
be  together,  and  long  remain  together.  Farewell,  dear 
Sister,  till  we  meet  I 


To  Paul  Mendelssohn  Bartholdy. 

Interlachen,  August  3d,  1847. 

Dear  Brother, 

We  are  all  well,  and  continue  to  live  the  same  quiet 
life  that  you  enjoyed  with  us  here.  It  was,  indeed, 
most  solitary  the  first  days  after  you  left  us,  when  each 
of  us  went  about  with  dismal  faces,  as  if  we  had  for- 
gotten something,  or  were  looking  for  something, — and 


RETURNING  CHEERFULNESS. 


389 


it  was  so,  indeed  I Since  tlien,  I have  begun  to  write 
music  very  busily  ; the  three  elder  children  work  with 
me  in  the  forenoon  ,*  in  the  afternoon,  when  the 
weather  permits,  we  all  take  a walk  together ; and  I 
have  also  finished  a few  rabid  sketches  in  Indian  ink. 
Herr  Kohl  came  here  yesterday,  the  Irish  and  Kussian 
traveller,  and  spent  the  evening  with  us;  also,  Mr. 
Grote,*  whom  I always  am  very  glad  to  see  and  to  listen 
to ; but  I now  feel  so  tranquil  in  this  quiet  retirement, 
and  so  little  tranquil  with  a number  of  people,  that  I 
do  all  I can  to  avoid  what  is  called  society,  and  as  yet  I 
have  succeeded  in  this.  Why  were  you  not  with  me  in 
Eoningen  ? you  would  indeed  have  been  pleased ! and 
in  Wilderschwyl,  and  Hnspunnen  besides  ? This  alone 
would  be  a sufficient  reason  for  your  returning  here  as 
soon  as  you  can.  We  have  not,  however,  once  had  fine 
weather  since  the  day  of  your  departure,  and  often  very 
bad;  there  has  been  no  further  question,  since  then, 
of  sitting  under  the  walnut-trees,  and  many  days  we 
were  unable  to  leave  the  house.  Still  we  always  took 
advantage  of  the  hours  that  were  fair  for  all  kinds  of 
expeditions ; and  wherever  you  turn  your  steps  here, 
it  is  always  splendid.  If  the  weather  becomes  more 
settled,  I mean  to  go  over  the  Susten,  and  to  the  sum- 
mit of  the  Sidelhorn,  which  can  be  done  from  here  in  a 
few  days.  But  to  carry  this  resolution  into  effect 
seems  by  no  means  easy.;  it  is  so  lovely  here,  and  we 
so  much  enjoy  our  regular,  quiet  fife.  It  has  enabled 
me  once  more  to  become  often  quite  cheerful;  but 
when  people  come,  and  talk  at  random  about  common- 
place matters,  and  of  God  and  the  world,  my  mood  be- 

* The  author  of  the  “ History  of  Greece.” 

33* 


390 


Mendelssohn’s  letters. 


comes  again  so  unutterably  mournful  that  I do  not 
know  how  to  endure  it.  You  are  obliged  to  surmount 
such  feehngs,  to  the  utmost  extent ; and  I think  of  this 
every  day.  It  must  be  hard  on  you,  and  I shrink  from 
the  idea  of  it  myself.  But  it  must  be  so,  and  it  is 
right:  so,  with  the  help  of  Grod,  it  can  be  done.  All 
send  heartfelt  greetings;  and  ever  continue  to  love 
youi 

Felix. 


To  General  von  Webern,  Berlin. 

Interlachen,  August  15th,  1847. 

My  dear,  kind  Friend, 

T send  you  a thousand  thanks  for  your  letter  of  the 
14th  of  July,  which  had  been  much  delayed,  as  I only 
received  it  here  a short  time  ago.  You  have,  no  doubt, 
seen  my  Brother  since  then,  and  he  has  probably  told 
you  more  minutely  of  my  intention  to  visit  Berlin  this 
autumn.  But  I cannot  delay  sending  you  an  imme- 
diate answer  to  your  kind  and  friendly  proposal  about 
the  three  concerts,  but,  indeed,  I would  rather  not  at 
present  agree  to  announce  the  three  concerts  (of 
which  two  were  to  be  “Elijah”).  “Elijah”  has  not 
yet  been  heard  in  Berhn,  and  it  would  not  only  appear 
presumptuous,  but  would  really  be  so,  if  I proposed  to 
the  public  to  perform  it  twice  in  succession.  In  addi- 
tion to  this,  my  present  mood  makes  me  so  decidedly 
disinclined  for  all  publicity,  that  I have  with  difficulty, 
and  chiefly  through  Paul’s  sensible  exhortations,  re- 
solved not  to  give  up  those  performances  to  which  I 


PROSPECTS  OF  GERMANY. 


391 


had  already  agreed.  I intend,  also,  to  fulfil  my  promise 
to  Herr  von  Arnim  about  the  Friedrich  Stift,*  and  the 
14th  of  October  seems  to  me  a very  suitable  day.  If 
the  sympathy  in  the  work  is  so  great  that  a repetition 
of  it  is  expected  and  desired  within  a short  period,  you 
may  imagine  that  this  can  only  be  a source  of  plea- 
sure to  me,  and  then  I would  gladly  see  the  receipts  of 
the  second  performance  applied  entirely  according  to 
your  wish.  If,  in  spite  of  this  very  unsatisfactory  and 
undecided  answer,  you  will  be  so  kind  as  to  assist  in 
promoting  the  first  performance  in  October,  and  inspir- 
ing those  who  have  to  do  with  it,  as  soon  as  possible, 
with  some  activity,  you  will  do  me  a great  service,  and 
I shall  again  owe  you  many  thanks.  For  I know,  as 
you  say,  the  difficulties  consequent  on  the  state  of 
things  there,  which  is  very  similar  to  the  sand,  and 
must  be  desperately  ploughed  up  before  it  brings  forth 
any  fruit. 

Your  letter  to  Cecile  does  not  sound  so  cheerful  as 
usual.  We  hope  that  this  may  have  only  been  caused 
by  some  passing  cloud,  and  that  the  sun  of  your  gayer 
mood  again  shines  as  brightly  as  we  are  accustomed  to 
see  it  with  you.  There  are,  to  be  sure,  just  now,  very 
dense  misty  fogs,  if  not  thunder-clouds,  in  our  Father- 
land,  and  many  a day  that  might  be  bright  and  clear 
becomes  thus  sultry  and  grey,  and  all  objects  dim  and 
dull;  yet  no  one  can  strive  against  this,  or  maintain 
that  they  see  the  bright  colours  and  forms  which  genu- 
ine sunshine  brings ; and,  indeed,  vivid  lightning  and 
loud  thunder  out  of  the  black  cloud  are  sometimes  pre- 

* To  allow  the  “ Elijah  to  be  performed  for  the  beuefit  of  that  insti 
totion. 


392 


MENDETiSSOHN’s  LETTERS. 


ferable  to  vague  mists  and  foggy  abysses.  Every  one 
suffers  from  them,  but  these  mists  do  not  yet  absorb 
the  light,  and  cannot  fail  to  be  dispersed  at  last.  That 
no  personal  reason,  no  illness  of  your  family  or  your- 
self, or  any  other  serious  cause  may  exist  for  your  de- 
pression, is  what  we  wish  I 

My  wife  and  children  are  well,  Grod  be  praised ! We 
walk  a great  deal,  the  children  do  their  lessons,  Cecile 
paints  Alpine  roses,  and  I write  music : so  the  days 
pass  monotonously  and  quickly.  Preserve  your  regard 
for  me  as  I ever  shall  for  you,  for  ever  and  ever. — Your 
friend, 

Felix  M.  B. 


To  Paul  Mendelssohn  Bartholdy. 

Leipzig.  October  25th,  1847. 

Dearest  Brother, 

I thank  you  a thousand  times  for  your  letter  to-day, 
and  for  the  hint  you  give  about  coming  here,  which  I 
seize  with  the  utmost  eagerness  of  heart.  I reaUy  did 
not  know  till  to-day  what  to  say  about  my  plans.  God 
be  praised,  I am  now  daily  getting  better,  and  my 
strength  returning  more  and  more ; but  to  travel  this 
day  week  to  Vienna  (and  that  is  the  latest  period  which 
will  admit  of  my  arriving  in  time  for  a rehearsal  of  their 
Musical  Festival)  is  an  idea  which  cannot  possibly  be 
thought  of.*  It  is  certainly  very  unlucky  that  they 
should  have  made  so  many  preparations,  and  that  my 
going  there  should  be  a second  time  put  off.  There  is 


* Mendelssobn  was  to  direct  the  “Elijah”  in  Vienna. 


LAST  ILLNESS. 


393 


no  doubt,  however,  that  my  improvement  in  health  is 
day  by  day  greater  and  more  sure,  so  I have  written  to 
ask  if  I may  delay  coming  for  a week ; but,  as  I said,  I 
place  little  faith  in  the  practicability  of  the  whole  thing, 
and  it  seems  to  me  I must  remain  here.  In  no  case 
can  I attempt  to  travel  before  eight  days  from  this 
time ; and  as  to  the  state  of  my  expedition  to  Berlin, 
has  not  Herr  von  Arnim  reported  it  to  you  in  regular 
detail  ? If  I cannot  go  to  Vienna,  the  same  reasons 
which  prevent  me  going  there  must  cause  me  to  stay 
here  for  a fortnight  or  three  weeks,  and  to  put  off  the 
performance  in  Berlin  till  the  end  of  November  at  the 
latest  ; and  even  if  I do  go  to  Vienna,  this  must  of 
course  still  be  the  case. 

After,  however,  these  interrupted  performances,  which 
must  now  be  carried  through,  that  I positively  under- 
take no  new  ones  is  quite  settled.  If  it  were  not 
necessary  to  keep  one’s  promise  I but  this  must  be  done, 
and  now  the  only  question  is  whether  I shall  see  you 
again  on  Saturday?  Say  Yes  to  this;  I believe  you 
would  do  me  more  good  than  all  my  bitter  medicine. 
Write  me  a couple  of  lines  soon  again,  and  be  sure  you 
agree  to  come.  My  love  to  you  all  I and  continue 
your  love  for  your 

Felix. 

On  the  30th  of  October  his  brother  was  summoned 
to  Leipzig,  in  consequence  of  Mendelssohn  being  seized 
by  another  attack  of  illness.  He  died  on  the  4th  of 
November. 


CATALOGUE 


ALL  THE  MUSICAL  COMPOSITIONS 

OF 

FELIX  MENDELSSOHN  BARTHOLDY. 


I.  THE  PUBLISHED  WORKS,  IN  CHRONOLOGICAL 
ORDER. 

U.  THE  UNPUBLISHED  WORKS,  CLASSIFIED  UN 
DER  DIFFERENT  HEADS. 


COLLECTED  PRINCIPALLY  FROM  THE  AUTHOR’s  ORIGINAL 
MANUSCRIPTS, 

AND  ACCOMPANIED  BY  A PREFACE, 

BY 


JULIUS  RIETZ 


PEEF  AOE. 


In  the  first  section  of  this  Catalogue  a few  compositions 
are  omitted,  because  the  autograph  notes,  by  which 
Mendelssohn  was  in  the  habit  of  recording  the  date  and 
place  of  composition  of  his  pieces,  are  wanting;  the 
precise  date  at  which  these  works  were  composed  can- 
not therefore  be  given.  They  are  as  follows: — 

Op.  6.  Sonata  for  Pianoforte. 

7.  Seven  characteristic  pieces  for  Pianoforte. 

8.  Twelve  Songs. 

9.  Twelve  Songs  (with  the  exception  of  No.  3) 
11.  Symphony  No.  1. 

14.  Rondo  Capriccioso  for  Pianoforte. 

These  may  all  be  placed  between  1824  and  1828 ; the 
symphony,  probably  the  earliest  of  all,  about  1824 ; it 
was  not  published,  however,  till  much  later,  and  was 
then  marked  as  Opus  11,  that  number  happening  to  be 
vacant.  In  marking  his  works  with  Opus  figures,  both 
at  that  time  and  especially  later,  Mendelssohn  invaria- 
bly referred  to  the  date,  not  of  their  composition,  but 
of  their  pubhcation ; years  not  unfrequently  intervening 
between  the  two.  This  fact  is  strikingly  exemphfied 
in  the  “ Walpurgis  Nacht,’*  which,  though  composed  in 
1830,  was  not  pubfished  till  1843,  when  indeed  it  was 
34 


398 


PREFACE  TO  CATALOGUE  OF 


much  over-elaborated.  In  his  books  of  songs  and  other 
minor  works,  he  was  in  the  habit  of  selecting  those 
which  answered  his  purpose,  out  of  a large  number 
composed  in  different  years.  Thus,  for  example,  the 
six  songs  in  the  first  book  of  songs  for  men’s  voices 
(op.  50)  were  composed  between  1837  and  1840.  Dates 
are  also  wanting  for 

Op.  15.  Fantasia  for  Pianoforte. 

19.  Six  Songs,  (with  the  exception  of  No.  6) 
undoubtedly  written  between  1830  and  1834. 

44.  String  Quartett,  No.  1. 

66.  Trio  No.  2,  for  Pianoforte,  Violin,  and  Vio- 
loncello. 

72.  Six  Juvenile  pieces. 

83.  Variations  for  Pianoforte. 

All  belonging  to  the  last  period,  subsequent  to  1840. 

Besides  these,  the  originals  of  many  single  songs, 
with  and  without  words,  are  so  dispersed,  that  with  the 
most  anxious  desire  to  render  the  Catalogue  complete, 
and  notwithstanding  all  the  efforts  of  the  Editor,  they 
have  not  yet  been  discovered.  Still,  even  in  its  incom- 
plete and  imperfect  condition,  the  Catalogue  will  be 
interesting  to  the  friends  and  admirers  of  this  immortal 
composer.  It  cannot  fail  also  to  be  of  great  value  to 
Mendelssohn’s  future  biographer,  for  the  striking  picture 
it  furnishes  of  his  development,  of  which  the  Thematic 
Catalogue  of  Breitkopf  and  Hartel  can  give  no  idea, 
since  in  its  compilation  it  was  not  possible  to  observe 
the  chronological  succession  of  the  works. 

This  is  the  proper  place  to  mention  a widely-spread 
report,  to  the  effect  that  Mendelssohn’s  sister,  Fanny 
Ilensel  (who  died  on  the  14th  of  May,  1847),  had  a 


MUSICAL  COMrOSITIONS. 


399 


shtare  in  the  composition  of  many  of  his  works.  Thus, 
among  others,  she  has  been  often  named  as  the  com- 
poser of  the  entire  first  book  of  Songs  without  Words  ” 
(op.  19).  This  has  been  much  exaggerated.  We  are 
now  enabled  to  reduce  it  to  its  proper  proportions,* 
and  to  state  positively  that  Mendelssohn  included  six 
only  of  his  sister’s  songs  with  words  in  his  first  four 
books  of  songs,  and  beyond  these  not  one  of  any  hind 
whatsoever.  These  songs  are  : — 

“ Heimweh,”  hTo.  2 


Suleika  and  Hatem,”  Duett,  No.  12  ) 
Sehnsucht,”  No.  7 ) 

Yerlust,”  No.  10  [•  in  Opus  9. 

Die  Nonne,”  No.  12  ) 

We  may  further  observe,  that  the  song  No.  12,  “ Die 
Blumenglocken  mit  hellem  Schein,’*  in  the  operetta 

Heimkehr  aus  der  Fremde  ” (Son  and  Stranger),  was 
set  to  niusic  by  Carl  Klingemann,  the  author  of  the 
hbretto,  Mendelssohn’s  most  intimate  friend,  who  died 
very  recently.  It  had  been  already  published  by  him 
in  1829,  in  a book  of  songs  (Logier,  Berlin),  with  other 
words,  and  was  afterwards  most  charmingly  and  deli- 
cately instrumented  by  Mendelssohn  for  the  operetta. 

In  addition  to  the  list  contained  in  the  thematic  cata- 
logue of  Mendelssohn’s  published  works,  the  following 
have  since  appeared  in  Germany. 

1.  Two  Pianoforte  Pieces : (a)  Andante  cantabile,  in 
B flat ; (b)  Presto  agitato,  in  G minor  (Senff,  Leipzig). 

* In  the  tenth  edition  of  Brockhaus’s  ‘‘ Conversations-Lexicon,”  vol. 
vii.,  1852,  we  read,  “ She  felt  great  repugnance  to  publish,  S(»  that  her 
brother  often^  in  jest,  allowed  her  compositions  to  appear  under  hi? 
name.” 


m 


PREFACE  TO  CATALOGUE  OF 


2.  Two  Songs  for  four  Men’s  Voices:  (a)  ScMum- 
mernd  an  des  Yaters  Brust (b)  Auf,  Freunde,  lasst 
das  Jahr  uns  singen,”  in  the  “ Eepertorium  fur  Manner- 
gesang”  (Kahnt,  Leipzig). 

A “ Te  Deum,”  for  a four-part  chorus  and  organ,  with 
English  words,  has  been  published  in  London. 

Lastly,  we  must  not  omit  to  mention  a published 
work  of  Mendelssohn’s  though  not  a musical  one, 
namely  a translation  of  the  Andria  ” of  Terence.  Its 
complete  title  is — 

The  Maiden  of  Andros,  a Comedy  by  Terence,  in 

the  metre  of  the  original,  translated  by  F ; with  an 

introduction  and  notes,  edited  by  K.  W.  L.  Heyse. 
(Berlin,  1826,  Ferdinand  Durnmler.)” 

As  the  existence  of  this  little  work,  or  at  any  rate 
the  fact  that  “ Felix  Mendelssohn  Bartholdy  ” is  con- 
cealed beneath  the  F ,”  is  not  hitherto  generally 

known,  this  notice  will  be  received  with  some  interest. 

II.  The  second  division  of  the  Catalogue  is  intended 
to  furnish  a more  ready  means  of  reference  to  what 
Mendelssohn  has  accomplished  in  the  most  various 
styles  of  composition  (beside  the  published  works) ; it 
is  not  arranged  chronologically,  but  under  different 
heads, — Church  Music,  Dramatic,  etc.  etc.  The  immense 
number  of  the  works  it  includes,  bears  testimony  to  the 
strict  and  conscientious  manner  in  which  Mendelssohn 
acted  with  regard  to  himself,  and  how  many  pieces  he 
laid  aside,  which,  if  only  revised,  might  have  caused 
great  delight  and  enjoyment  to  the  world.  The  list 
also  testifies  to  the  caution  of  his  representatives,  and 
to  their  desire  to  act  in  the  same  spirit  as  himself,  by 


MUSICAL  COMPOSITIONS. 


401 


not  publishing  anything  among  his  papers  which  might 
be  unworthy  of  his  name,  or  of  his  importance  in  the 
history  of  art.  Minor  compositions  for  special  occasions, 
songs  for  family  fetes^  canons  in  albums,  etc.  etc.,  of 
which  a vast  number  exist,  are  not  included  in  the  Ca- 
talogue, chiefly  because  it  was  impossible  to  make  even 
an  approach  to  a complete  list.  It  may  be  mentioned, 
that  Mendelssohn  added  full  obligato  organ  parts  to 
two  of  Handel’s  oratorios,  viz.  “ Solomon  ” and  “ Israel 
in  Egypt,”  as  well  as  to  the  Dettingen  Te  Deum.” 
Those  for  ‘‘  Solomon  ” and  the  “ Te  Deum  ” remain  in 
manuscript;  but  those  to  ‘^Israel  in  Egypt”  are  pub- 
lished in  the  edition  of  the  Handel  Society  of  London, 
for  whom  Mendelssohn  edited  the  oratorio. 


J.  R. 


I 

PUBLISHED  WORKS, 

IN  CHRONOLOGICAL  ORDER. 


1822. 

Quartett  for  Pianoforte^  Yiolin,  Tenor,  and  Violoncello, 
in  G minor,  op.  1.  Berlin.* 

1823. 

Quartett  for  Pianoforte,  Violin,  Tenor,  and  Violoncello, 
in  F minor,  op.  2.  Berlin. 

Sonata  for  Pianoforte  and  Violin,  in  F minor,  op.  4. 
Berlin. 

1824. 

Quartett  for  Pianoforte,  Violin,  Tenor,  and  Violoncello, 
in  B minor,  op.  3.  Berlin. 

“ Die  Hochzeit  des  Camacho, Opera  in  Two  Acts,  op. 
10.  First  Act.  Berlin. 

Overture  for  a Military  Band,  in  C Major,  op.  24.  Dob- 
beran. 

Originally  composed  for  the  Band  of  the  Dohberan  Bathe 
and  subsequently  arranged  for  a full  Military  Band. 


* The  name  of  the  place  inyariably  indicates  where  the  Work  waa 
composed,  or  at  all  events  finished. 


MUSICAL  COMPOSITIONS. 


403 


1825. 

^^Die  Hochzeit  des  Camaclio,’*  Overture  and  Second 
Act. 

This  Opera  was  given  once  in  the  Berlin  theatre,  on  the  29th 
April,  1827. 

Capriccio  for  Pianoforte,  in  F sharp  minor,  op.  5.  Ber- 
lin. 

Octett  for  four  Violins,  tvro  Tenors,  and  two  Violoncel- 
los, in  E flat,  op.  20.  Berlin. 

1826. 

Quintett  for  two  Violins,  two  Tenors,  and  Violoncello, 
in  A,  op.  18.  Berlin. 

The  Intermezzo,  Andante  sostemito,  in  F major,  was  com- 
posed subsequently  in  Paris,  in  1832.  The  Scherzo,  in  D 
minor,  originally  formed  the  second  movement ; the  third  was 
a Minuetto,  in  F sharp.  Allegro  molto ; with  a Trio,  in  By,  Ca- 
none  doppio. 

Overture  to  Shakspeare’s  “ Midsummer  Night’s 
Dream,”  in  E major,  op.  21.  Berhn. 

Song  for  Voice  and  Pianoforte,  “ Es  lauschte  das  Laub,” 
op.  86,  no.  1. 

1827. 

Quartett  for  two  Violins,  Tenor,  and  Violoncello,  in  A 
minor,  op.  13.  Berhn. 

Fugue  for  two  Violins,  Tenor,  and  Violoncello,  in  E 
flat,  in  op.  81. 

Fugue  for  Pianoforte,  in  E minor.  Berhn. 

No.  7 in  a collection  entitled,  “ Notre  Temps,”  published  by 
Schott,  of  Mayence. 

1828. 

Quartett  for  two  Violins,  Tenor,  and  ViolonceUo,  in  E 
flat,  op.  12.  Berhn. 

At  the  period  of  its  composition,  this  Quartett  appeared  as 
“ the  first  for  stringed  instruments.” 


404 


CATALOGUE  OF 


Overture,  “ Meeresstille  und  gliickliclie  Fahrt,”  in  D,  op 
27.  Berlin. 

Variations  for  Pianoforte  and  Violoncello,  in  D,  op.  17. 
Berlin. 


1829. 

Song  for  Voice  and  Pianoforte,  “ Wartend,”  op.  9,  no 
3.  Berlin. 

Song  for  Voice  and  Pianoforte,  “ Der  Blumenkranz.’’ 
London. 

This  appeared  at  a much  later  period,  in  an  Album  of  Spehr’s, 
Brunswick. 

Three  Fantasias  or  Caprices  for  the  Pianoforte,  op.  16. 
Coed  Du,  in  Wales. 

Heimkehr  aus  der  Fremde,”  Operetta  in  One  Act,  op. 
89.  London  and  Berlin. 

Composed  for  the  celebration  of  the  silver  wedding-day  of  his 
parents.  Performed  in  public  for  the  first  time  on  the  20th 
April,  1851,  in  Leipzig. 


1830. 

Overture,  Die  Hebriden,”  in  B minor,  op.  26.  Rome. 
Psalm  CXV.,  Mcht  unserm  Xamen,  Herr,”  for  Chorus, 
Solo,  and  Orchestra,  op.  31.  Rome. 

Song  for  Voice  and  Pianoforte,  Reiselied,”  op.  19,  no. 
6.  Venice. 

Song  without  words,  “ Gondellied,”  op.  19,  no.  6.  Ve- 
nice. 

A book  of  songs  with  words,  and  one  of  songs  without 
words,  are  each  marked  as  Opus  19. 

Three  pieces  of  Sacred  Music  for  Solo  and  Chorus,  with 
Organ,  op.  23.  Rome. 


MUSICAL  COMPOSITIONS. 


405 


Three  Motetts  for  Female  Yoices  with  Organ,  op.  39. 
Eome. 

Composed  for  the  Nuns  in  Trinita  de’  Monti,  in  Eome ; but 
not  published  till  1888,  when  it  was  partly  re-written. 

1831. 

Die  erste  Walpurgis  Nacht,”  BaUad,  for  Chorus,  Solo, 
and  Orchestra,  op.  60.  Milan  and  Paris. 

Ee-wi*itten  in  Leipzig  in  1842,  and  published  in  1843. 
Yerleih’  uns  Frieden,”  Prayer,  for  Chorus  and  Orches- 
tra. No  opus  number.  Eome. 

Song  for  Yoice  and  Pianoforte,  Da  lieg’  ich  unter  den 
Baumen,”  op.  84,  no.  1.  Dusseldorf. 

Song  for  Yoice  and  Pianoforte,  Die  Liebende  schreibt,’* 
op.  86,  no.  3.  Untersee. 

1832. 

Concerto  for  Pianoforte  and  Orchestra,  in  G-  minor,  op. 
25.  Munich. 

Capriccio  Brillant,  for  Pianoforte  with  Orchestra,  in  B 
minor,  op.  22.  London. 

Fugue  for  Pianoforte,  in  B minor  ; p.  35,  no.  3. 

1833. 

Symphony,  in  A major,  op.  90.  Berlin. 

Eepeatedly  mentioned  in  Mendelssohn’s  Letters  from  Italyj 
as  the  Italian  Symphony. 

Overture,  “ Zum  Mahrchen  von  der  schonen  Melusine,** 
in  F,  op.  32.  Berlin. 

Fantasia  for  Pianoforte,  in  F sharp  minor,  op.  28.  Ber- 

hn.  , 

Entitled  on  the  autograph,  “ Sonate  Ecossaise.” 

Capriccio  for  Pianoforte,  in  F sharp  minor,  op.  33,  no. 
3.  London. 


406 


CATALOGUE  OF 


“ Lied  oline  Worte,”  in  D,  op.  30,  no.  5.  Diisseldorf. 
Yocal  Chorus,  ‘‘Lord,  have  mercy,”  in  A minor.  ISTo 
opus  number.  Berlin. 

Published  in  an  Album,  by  Bosenberg,  Leipzig. 

1834. 

Eondo  Brillant  for  Pianoforte,  in  E flat,  op.  29. 
Capriccio  for  Pianoforte,  in  A minor,  op.  33,  no.  1. 

“ Lieder  ohne  Worte — 

Op.  30,  Nos.  1 and  4. 

Op.  85,  No.  2. 

Songs  for  Voice  and  Pianoforte  : — 

Minnelied,”  op.  34,  no.  1. 

Auf  Flugeln  des  G-esanges,”  op.  34,  no.  2. 

“ Sonntagslied,”  op.  34,  no.  5. 

“ Jagdlied,”  op.  84,  no.  3. 

Eomance  for  Voice  and  Pianoforte,  “ Schlafloser  Augen,” 
No  opus  number. 

Published  in  an  Album.  Breitkopf  and  Hartel,  Leipzig. 
Three  “ Volkslieder,”  for  Soprano,  Alto,  Tenor,  and 
• Bass,  op.  41,  nos.  2,  3,  4. 

Commencement  of  the  Oratorio  of  “ St.  Paul.” 

“ Todeslied  der  Bojaren,”  from  Immermann’s  Tragedy 
of  Alexis,”  for  a chorus  of  men’s  voices  in  unison, 
and  wind  instruments ; in  E minor. 

First  published  as  a contribution  to  the  fourth  volume  of  Im 
mermann’s  works.  Schaub,  Dusseldorf. 

N.B. — All  the  works  of  this  year  were  composed  at  Dusseldorf. 

1835. 

Oratorio  of  “ St.  Paul,”  op.  36.  Dusseldorf  and  Leip- 
zig. 

Performed  for  the  first  time  at  the  Musical  Festival  of  the 
Lower  Khine,  at  Dusseldorf,  on  the  22nd  of  May,  1836. 


MUSICAL  COMPOSITIONS. 


407 


Capriccio  for  Pianoforte,  in  E major,  op.  33,  no.  2, 
Diisseldorf. 

Fugue  for  Pianoforte,  in  A flat,  op.  35,  no.  4.  Diisseldorf. 

Song  for  Voice  with  Pianoforte,  “Das  Waldschloss.’' 
No  opus  number.  Berlin. 

isae. 

Preludes  for  Pianoforte,  op.  35 : — no.  2,  in  D ; no.  3,  in 
B minor ; no.  5,  in  F minor.  Leipzig. 

Fugue  for  Pianoforte,  op.  35,  no.  6,  B flat.  Leipzig. 

Fugue  for  the  Organ,  in  Gr,  op.  37,  no.  2.  Leipzig. 

Etude  and  Scherzo  for  the  Pianoforte,  in  F minor.  No 
opus  number.  Leipzig. 

Two-part  Song,  with  Pianoforte,  “ Sonntagsmorgen,’* 
op.  77,  no.  1.  Leipzig. 

1837. 

Concerto  for  Pianoforte  and  Orchestra,  in  D minor,  op. 
40.  Bingen  and  Horchheim  on  the  Rhine. 

Quartett  for  Two  Yiohns,  Tenor,  and  Violoncello,  in  E 
minor,  op.  44,  no.  2.  Frankfort  on  the  Main. 

Psalm  XLII.,  “Wie  der  Hirsch  schreit,”  for  Chorus, 
Solo,  and  Orchestra.  Freyburg  in  Breisgau,  and 
Leipzig. 

Preludes  for  Pianoforte,  op.  35  : — no.  1,  in  E minor ; 
no.  4,  in  A flat  major ; no.  6,  B flat.  Leipzig. 

Fugue  for  Pianoforte,  op.  35,  no.  2.  Leipzig. 

Three  Preludes  for  the  Organ,  op.  37.  Speyer. 

Fugue  for  the  Organ,  op.  37,  no.  1.  Speyer. 

Songs  for  Voice  with  Pianoforte  : — 

“ Suleika,”  op.  34,  no.  4. 

“ Reiselied,”  op.  34,  no.  6.  >-  Leipzig. 

“ Suleika,”  op.  57,  no.  3.  ) 


408 


CATALOGUE  OJF 


Songs  for  Four  Male  Voices  : — 

“ Sommerlied,”  op.  50,  no.  3. 

Wasserfahrt,”  op.  50,  no.  4. 

“ So  lang  man  nuchtern  ist,”  op.  75,  no.  3. 

“ G-aben  mir  Eatb,”  op.  76,  no.  1. 

Song  for  Soprano,  Alto,  Tenor,  and  Bass,  “ Im  Griinen,*- 
op.  59,  no.  1.  Leipzig. 

“Song  without  Words,’*  in  A minor,  op.  38,  no.  5. 
Speyer. 

1838. 

Serenade  and  Allegro  Giojoso  for  Pianoforte,  with  Or- 
chestra, op.  43.  Leipzig. 

Quartett  for  Stringed  Instruments,  in  E flat,  op.  44,  No. 
3.  Leipzig. 

Sonata  for  Pianoforte  and  Violoncello,  in  B flat,  op.  45. 
Leipzig. 

Psalm  XCV.,  “ Kommt,  lasst  uns  anbeten,”  for  Chorus, 
Solo,  and  Orchestra,  op.  46.  Leipzig. 

Andante  Cantabile  and  Presto  Agitato,  for  the  Piano- 
forte, in  B.  Without  any  opus  number.  Berlin. 

Appeared  in  an  Album.  Breitkopf  and  Hartel,  Leipzig. 

Song  for  Four  Male  Voices,  “ Tiirkisches  Schenken- 
lied,”  op.  50,  No.  1.  Leipzig. 

1839. 

Psalm  CXIV.,  “ Da  Israel  aus  Egypten  zog,”  for  an 
eight-part  Chorus  and  Orchestra,  op.  51.  Horch- 
heim. 

Trio,  for  Pianoforte,  Viohn,  and  Violoncello,  in  D minor, 
op.  49.  Frankfort,  Berlin,  and  Leipzig. 

Sonata  for  the  Organ,  in  0 minor,  op.  65,  no.  2.  Frank 
fort. 


" Leipzig, 


MUSICAL  COMPOSITIONS. 


409 


Frankfort. 


Overture  to  Yictor  Hugo’s  drama,  “ Ruy  Bias,”  in  0 mi- 
nor, op.  95.  Leipzig. 

Chorus  for  Two  Female  Voices,  with  Quartett  accom- 
paniment, from  “ Buy  Bias,”  in  A,  op.  77,  no.  3. 

The  foregoing  two  pieces  were  written  for  a performance  of 
“ Eny  Bias  ” for  the  benefit  of  the  Theatrical  Pension  Fund, 
at  the  request  of  the  Committee  of  the  Fund. 

Six  Songs,  for  Soprano,  Alto,  Tenor,  and  Bass,  op.  48. 

Frankfort  and  Leipzig. 

Besides  these : — 

“Hirtenlied,”  op.  88,  no.  3. 

'^Im  Wald,”  op.  100,  no.  4. 

Songs  for  Four  Male  Voices : — 

^‘Liebe  und  Wein,”  op.  50,  no.  5. 

Abendstandchen,”  op.  75,  no.  2. 

“Ersatz  fur  Unbestand.”  Ho  opus 
number. 

Songs  for  One  V oice  with  Pianoforte  : — 

“ Friihlingslied,”  op.  47,  no.  3.  ^ 

“ Volksliqd,”  op.  47,  no.  4.  V Leipzig. 

“ Wiegenlied,”  op.  47,  no.  6.  ; 

“ Altdeutsches  Lied,”  op.  57,  no.  1.  Horchheim. 

“ Hirtenhed,”  op.  57,  no.  2. 

“ Herbstlied,”  op.  84,  no.  2.  V L ' ' 

“ Song  without  Words,”  in  F sharp  minor,  > ^ 

op.  67,  no.  2. 

1840. 


1 , , 

^ Leipzig. 


‘Hymn  of  Praise,”  Symphony  Cantata,  op.  52.  Leip- 
zig. 

Performed  for  the  first  time  on  the  25th  of  June,  1840,  in  the 
Thomas  Church  at  Leipzig,  at  the  Celebration  of  the  Fourth 
Centenary  of  Printing. 

A “ Festgesang,”  for  Male  Voices  and  Brass  Band, 
35 


4i0 


CATALOGUE  OF 


Begeht  mit  heil’gem  Lobgesang.”  No  opus  num- 
ber. 

For  the  opening  of  the  same  Festival  in  honour  of  Printing. 

Songs  for  Four  Male  Yoices : — 

“ Der  Jager  Abscbied,”  op.  50,  no.  2. 

“ Wanderlied,”  op.  50,  no.  6. 

Song  for  Soprano,  Alto,  Tenor,  and  Bass,  Der  wan- 
demde  Musikant,”  op.  88,  No.  6. 


1841. 


Music  for  “ Antigone,”  op.  55.  Berlin. 

Performed  for  the  first  time  on  the  6th  November,  1841,  in 
the  New  Palace,  at  Potsdam,  and  in  the  theatre  at  Berlin,  on 
the  18th  of  April,  1842. 

Variations  Serieuses,  for  the  Pianoforte,  in  D minor,  op. 
54.  Leipzig. 

Variations  for  the  Pianoforte,  in  E flat,  op.  82.  Leip- 
zig. 

Allegro  Brillant  for  the  Pianoforte,  arranged  as  a Duett, 
in  A,  op.  92.  Leipzig. 

Prelude  for  the  Pianoforte,  in  E minor,  for  “Notre 
Temps.”  Refer  to  1827.  Leipzig. 

Songs  for  Voice,  with  Pianoforte  accompaniment: — 

“ Frische  Fahrt,”  op.  57,  no.  6.  Leipzig. 

“Erster  Verlust,”  op.  99,  no.  1.  Berlin. 

“ Das  Schiffleiri,”  op.  99,  no.  4.  Leipzig. 

Song  for  Voice,  with  Pianoforte,  “Ich  hor’  ein  Voglein 
locken.”  No  opus  number. 

Appeared  first  as  a contribution  to  a Collection  of  Poetry  b? 
Adolph  Bottger. 

“ Songs  without  Words :” — 

“ Volkslied,”  in  A minor,  op.  53,  no.  5. 


in  A major,  op.  53,  no.  6. 
in  B flat,  op.  85,  no.  6. 


Leipzig. 


MUSICAL  COMPOSITIONS. 


411 


1842. 

Symphony,  in  A minor,  op.  56.  Berlin. 

Called  the  “ Scotch  Syinphony,”  in  the  letters  of  1880. 

Songs  for  Voice  with  Pianoforte  : — 

“ Gondellied,”  op.  57,  no.  5. 

“ Schilflied,’*  op.  71,  no.  4. 

Song  for  two  Voices,  with  Pianoforte,  “ Wie  war  so 
schon,”  op.  63,  no.  2. 

“ Song  without  Words,”  in  A major,  op.  62,  no.  6. 


1843. 

Music  for  the  “Midsummer  Night’s  Dream,”  op.  61. 
See  year  1826.  Leipzig. 

Performed  for  the  first  time  on  the  14th  of  October,  1848,  in 
the  New  Palace,  at  Potsdam;  and  in  the  theatre  at  Berlin,  on 
the  18th  October,  1843. 

Sonata  for  Pianoforte  and  Violoncello,  in  D,  op.  58. 
Leipzig. 

Choruses  for  Eacine’s  “ Athalie.”  Leipzig. 

For  female  voices  only,  and  with  pianoforte  accompaniment. 
This  work  was  performed,  in  its  later  shape,  for  the  first  time 
on  December  1st,  1845,  in  the  Eoyal  Theatre  at  Charlotten- 
burg.  See  year  1846. 

Concert  Aria  for  Soprano  with  Orchestra,  in  B flat,  op. 
94.  Leipzig. 

Capriccio  for  Two  Violins,  Tenor,  and  Violoncello,  in  E 
minor,  in  op.  81.  Leipzig. 

Psalm  XCI.,  “ Singe t dem  Herrn  ein  neues  Lied,”  for 
Chorus  and  Orchestra,  op.  91.  Berlin. 

For  the  celebration  of  New  Tear’s  Day,  1844,  in  the  Dom 
Kirche,  at  Berlin. 

Psalm  II.,  “ Warum  toben  die  Heiden  ?”  for  an  eight 
part  Chorus,  op.  78,  no.  1.  Berlin. 


412 


CATALOGUE  OF 


Anthem,  “Herr  Gott,  du  hist  unsre  Zuflucht,”  for  a 
Chorus  of  Eight  Voices,  op.  79,  no.  2.  Berhn. 

Hymn  for  a Contralto,  Chorus,  and  Orchestra,  op.  96. 
Leipzig. 

The  elaboration  of  a work  formerly  published  by  Simrock 
of  Bonn,  without  any  opus-number,  entitled  “ Three  Sacred 
Songs  for  an  Alto  Voice,  Chorus,  and  Organ.” 


op.  69,  nos. 
Leipzig. 


Song  for  Voice  with  Pianoforte,  “Es  weiss  und  rath  es 
doch  Keiner,”  op.  99,  no.  6. 

Songs  for  Soprano,  Alto,  Tenor,  and  Bass : — 

“ Friihzeitiger  Fruhling,” 

“ Abschied  vom  Walde,” 

“ Die  Hachtigall,” 

“ Euhethal,” 

“ Jagdhed,’’ 

“ Ich  haV  ein  Liebchen,”  op.  88,  no.  2. 

“ Die  Waldvoglein,”  op.  88,  no.  4. 

“ Lob  des  Fruhlings,”  op.  100,  no.  2.  ) 

“ Songs  without  Words  — 

B,  op.  62,  no.  2. 

E minor,  op.  62,  no.  3. 

G,  op.  62,  no.  4. 

C,  op.  67,  no.  4. 


2 to  6. 


Leipzig. 


- Leipzig. 


1844. 

Concerto  for  the  Violin,  with  Orchestra,  in  E minor,  op. 
64.  Leipzig. 

Overture  to  “ Athalie,’*  in  D minor,  and  March  of  the 
Priests,  in  F,  op.  74.  London. 

Hymn,  “ Hor’  mein  Bitten,”  for  a Soprano,  Chorus,  and 
Organ.  Ho  number.  Berhn. 


MUSICAL  COMPOSITIONS. 


413 


r Frankfort. 


Sonatas  for  the  Organ,  op.  65 
F minor,  no.  1. 

C minor,  no.  2. 

A major,  no.  3. 

D minor,  no.  6.  J 

Psalms  for  a Choir  of  Eight  Voices,  op.  78. 

Psalm  XLIII.,  Richte  mich  Gott,”  ISTo.  2.  1 
Psalm  XLII.,  “ Mein  Gott,  warum  hast  V Berlin 
Du,”  no.  3.  ) 

Songs  for  Four  Male  Voices : — 

Wem  Gott  wiU,”  op.  75,  no.  1.  1 
So  riickt  denn,”  op.  75,  no.  4.  >•  Berlin. 

“ Rheinweinlied,”  op.  76,  no.  2.  ) 

Songs  for  Soprano,  Alto,  Tenor,  and  Bass : — 

“ Neujahrslied,”  op.  88,  no.  1. 

Andenken,”  op.  100,  no.  1. 

“ Songs  without  Words — 

G,  op.  62,  no.  1.  Berlin. 

E flat,  op.  67,  no.  1.  Leipzig. 

B minor,  op.  51.  Berlin. 

Songs  for  Two  Voices  with  Pianoforte  :- 
Gruss,”  op.  63,  no.  2. 

“ Herbstlied,”  op.  63,  no.  3. 

Maiglockchen  und  die  Blumelein,”  op.  63,  no.  6. 
Berlin. 

1845. 


j.  Leipzig. 


Music  for  “ Oedipus  von  Kolonos,  ” op.  93.  Leipzig 
and  Frankfort. 

Performed  for  the  first  time  on  the  1st  November,  1845,  in 
the  New  Palace  at  Potsd^Tn  and  in  the  theatre  at  Berlin  on 
the  10th  Novreinber,  184,5. 

Quintett  for  two  Violins,  two  Tenors,  and  Violoncello, 
in  B flat,  op.  87.  Soden. 

35* 


414 


CATALOGUE  OF 


Athalie,”  instrumentatioii  and  arrangement  of  the 
Choruses  for  Soprano,  Alto,  Tenor,  and  Bass.  See 
the  years  1843  and  1844.  Op.  74. 

Sonatas  for  the  Organ  : — 

B flat,  op.  65  no.  4 
D minor,  op.  65,  no.  6.  j 
Songs  for  One  Voice  with  Pianoforte : — 

“ Trostung,”  op.  71,  no.  1.  Leipzig. 

“ Fruhlingslied,’*  op.  71,  no.  2.  Frankfort. 

“ Wenn  sich  zwei  Herzen  scheiden,”  op.  99,  no.  5. 
Leipzig. 

Songs  without  Words — 

B flat,  op.  67,  no.  3.  Leipzig. 

D,  op.  84,  no.  4.  ) 

A,  op.  84,  no.  5.  ) 

Anthems  for  an  Eight-part  Chorus : — 

“ Frohlocket,  ihr  Volker,”  op.  97,  no.  1. 

“Herr,  gedenke,’’  op.  79,  no.  4. 

Commencement  of  the  Oratorio  of  “Elijah.” 


1846. 

Cantata  to  the  “ Sons  of  Art,”  Male  Chorus  and  Brass 
Band,  op.  68. 

Written  for  the  first  German-Flemish  Yocal  Festival  at  Co- 
logne. 

“ Lauda  Sion,”  for  Chorus,  Solo,  and  Orchestra,  op.  73. 

For  the  church  of  St.  Martin,  in  Luttich. 

“Elijah,”  Oratorio,  op.  70. 

Performed  for  the  first  time  at  Birmingham,  August  25, 
1846. 

Song  for  Four  Male  Voices,  “Was  uns  eint  als  deutsche 
Briider,”  op.  76,  no.  3. 

For  the  Germans  in  Lyons. 


MUSICAL  COMPOSITIONS. 


415 


Anthems  for  an  Eight-part  Chorus : — 

“Erhaben,  0 Herr,”  op.  79,  no.  3. 

“ Lasset  uns  frohlocken,”  op.  79,  no.  5. 

All  the  works  of  this  year  were  composed  in  Leipzig. 

1847. 

Three  Motetts  for  Chorus  and  Solo  Voices,  op.  69. 
Baden-Baden  and  Leipzig. 

Recitative  and  Choruses  from  the  unfinished  Oratorio, 
“ Christus,”  op.  97. 

Finale  of  the  first  Act  from  the  unfinished  Opera  of 
‘‘  Loreley,”  op.  98.  Leipzig. 

Besides  this  finale  there  are  only  extant,  an  Ave  Maria  for 
Soprano  Solo  and  Female  Chorus,  a grand  March  with  Chorus, 
and  the  beginning  of  three  other  pieces  of  music. 

Quartett  for  Two  Violins,  Tenor,  and  Violoncello,  in  F 
minor,  op.  80.  Interlachen. 

Andante  and  Scherzo  for  Two  Violins,  Tenor,  and  Vio- 
loncello, in  op.  81. 

Songs  for  One  Voice  with  Pianoforte  : — 

“ An  die  Entfernte,”  op.  71,  no.  3.  Leipzig. 

“Auf  der  Wanderschaft,”  op.  71,  no.  5.  Interla- 
chen. 

Nachtlied,”  op.  71,  no.  6.  Leipzig. 

Song  for  Four  Male  Voices,  Comitat,”  op.  76,  no.  4. 
Frankfort. 

Song  for  Two  Voices  with  Pianoforte,  “Das  Aehren- 
feld,”  op.  77,  no.  2.  Leipzig. 

Song  for  Voice  with  Pianoforte,  “ Altdeutsches  Fruh- 
lingslied,”  op.  86,  no.  6. 

Mendelssohn’s  last  composition,  written  on  the  7th  Octobei 
184T,  in  Leipzig. 


416 


CATALOGUE  OF 


IL 

WORKS  NOT  PUBLISHED. 


Sacred  Music. 

“ Magnificat  ” for  Chorus  and  Orchestra,  in  D.  1822. 
Juba  Domine”  for  Chorus  and  Soli,  without  Orches- 
tra. 1822. 

G-loria  ” for  a four-part  Chorus  and  Orchestra,  in  E 
flat. 

Kyrie  ” for  two  Choruses  and  Soli,  in  C irinor. 

“ Jesus  meine  Zuversicht,”  Chorale,  four  and  five 
Voices.  1824. 

‘‘Ich  bin  durch  der  Hoffnung  Band,”  Chorale  and 
Fugue,  for  four  and  five  Voices. 

Kyrie  ” for  a five-part  Chorus  and  Orchestra.  1825. 
Und  ob  du  mich  ziichtigest,  Herr,”  Canon  for  five 
Voices. 

“ 0 Beata,”  Chorus  for  three  Female  Voices  and  Organ. 
Te  Deum  Laudamus,”  for  an  eight-part  Chorus. 
Eight  movements.  1826. 

Tu  es  Petrus,”  for  a five-part  Chorus  and  Orchestra. 
1827. 

“ Christe,  du  Lamm  Gottes,”  Cantata  for  four  Voices 
and  stringed  instruments. 


MUSICAL  COMPOSITIONS. 


417 


“ Ach  Gott  vom  Himmel  sieh  darein,”  Cantata  for  four 
Voices  and  Orchestra. 

‘*Vom  Himmel  hoch,  da  komm’  ich  her,”  Christmas 
hymn  for  four  voices  and  Orchestra.  Eome.  1831. 

“ Hora  est  de  somno  surgere,”  for  four  Four-part 
Choirs. 

“ Ad  vesperas  Dom.  XXI.  post  Trinitatis.  Eesponso- 
rium  et  Hymnus,”  for  three-  and  four-part  Male  Cho- 
rus. 

“ Beati  mortui,”  for  a four-part  Male  Chorus. 

Two  Enghsh  Psalm-tunes  for  four  voices.  1839. 

Nine  pieces  in  the  Oratorio  of  “ St.  Paul,”  subsequently 
omitted : — four  Choruses,  three  Chorales,  four  Eecita- 
tives,  a Soprano  Aria,  and  a Duett  for  Tenor  and 
Bass. 

“ Herr  Gott,  dich  loben  wir,”  Chorale  for  double  Cho- 
rus, Organ,  four  Trombones,  and  stringed  instruments, 
for  the  celebration  of  the  German  Tausendjahrige  fes- 
tival. 1843. 

Psalm  C.,  ‘‘ Jauchzet  dem  Herrn,”  for  a four-part  Cho- 
rus. 1844. 

The  German  Liturgy,  for  two  four-part  Choirs. 

Wir  glauben  all’  an  einen  Gott,”  for  Chorus  and  Or- 
chestra. 

The  most  important  of  these  works  a capella^  the  “To 
Deuiii,”  the  “ Hora  est,”  etc.,  were  written  from  1826  to  1828 
for  the  Berlin  Singing  Academy,  at  that  time  under  Zelter’s 
management,  and  were  constantly  sung  there.  The  four  last- 
named  pieces  were  composed  for  the  Cathedral  Choir  at  Ber- 
lin. 

Secular  Cantatas. 

Grand  Festival  Music  for  the  Diirer  Festival.  The 
Poem  by  Professor  Levetzow.  Performed  in  the 


418 


CATALOGUE  OF 


Hall  of  the  Singing  Academy  at  Berlin,  on  the  12th 
of  April,  1828.  Instrumental  Introduction,  and  four- 
teen Numbers — Solos,  G-rand  fugued  Choruses,  etc. 

Festival  Music,  for  a festival  given  in  the  Hall  of  the 
Eoyal  Theatre  at  Berlin,  by  Alexander  von  Hum- 
boldt. The  -words  by  L.  Eellstab.  For  Male  Voices, 
with  accompaniment  of  Clarionets,  Horns,  Trumpets, 
Kettle-drums,  Violoncello,  and  Double  Bass.  Seven 
numbers.  Solos  and  Choruses.  1827. 

Festal  Song  at  the  uncovering  of  the  statue  of  Fried- 
rich August  the  Just,  at  Dresden,  on  the  9tli  June, 
1842,  for  two  Male  Choirs  and  Brass  Band. 

Dramatic. 

“ Die  beiden  Padagogen,”  Comic  Operetta,  in  one  Act, 
adapted  from  the  French.  Overture  and  ten  num- 
bers. 

“ Soldatenliebschaft,”  Comic  Operetta,  in  one  Act. 
Overture  and  fourteen  numbers. 

Die  wandernden  Komodianten,”  Comic  Opera  in  one 
Act.  Overture  and  twelve  numbers.  1821. 

“ Der  Onkel  aus  Boston,  oder  die  beiden  Neffen,”  Comic 
Opera  in  three  Acts.  1822-1823.  Overture  and 
fourteen  numbers,  with  much  Ballet  Music. 

Music  to  Calderon’s  Tragedy,  “ The  Steadfast  Prince.” 
Two  Choruses  for  Male  Voices,  Battle-piece,  Melo- 
drama. 1834. 

Written  for  a performance  in  Dtisseldorf. 

For  Voice,  with  Orchestral  Accompaniment  or 
Stringed  Instruments. 

Eecitative  and  Aria,  “ Che  vuoi  mio  cor,”  for  a Contral- 
to, ac(?ompanied  by  Stringed  Instruments.  1824. 


MUSICAL  COMPOSITIONS. 


419 


Scena  and  Aria,  for  a Soprano,  with  OrcJiestra.  1834. 

Much  of  this  was  afterwards  made  use  of  in  the  Aria,  op.  94, 
the  only  instance  in  which  Mendelssohn’s  artistic  energy  per- 
mitted him  so  to  do. 

Air  for  Barytone  and  Orchestra,  with  English  Words, 
written  for  Phillips,  the  singer,  of  London.  1846. 

Songs  for  Voice,  with  Pianoforte  Accompaniment. 

Songs,  finished  ballads,  several  in  Italian,  chiefly  from 
Mendelssohn’s  earlier  period  to  the  year  1834.  The 
words  are,  with  few  exceptions,  by  unknown  poets, 
and  the  enumeration  of  the  individual  pieces  can  be 
of  httle  interest.  Their  number  is  from  twenty  to 
thirty. 

For  Four  Male  Voices. 

‘ A frischer  Bua  bin  ich,”  for  Immermann’s  Andreas 
Hofer.”  1833. 

Der  weise  Diogenes  war  der  erste  der  griechischen 
Sieben,”  Canon  for  twice  Two  Voices.  1833. 

“ Musikanten  Prugelei.”  1833. 

“ Im  Nebelgeriesel,  im  tiefen  Schnee,”  Gipsy  Song  by 
Goethe,  for  two  Two-part  Choirs. 

“ Worauf  kommt  es  uberall  an,”  by  Goethe.  1837. 

“ Auf  ihr  Herrn  und  Damen  schon,”  Hunting  Song. 
1837. 

Morning  Song  of  the  Thuringian  Vocal  Association, 
Seid  gegriisset,  traute  Briider.”  For  the  Festival 
in  Eisenach.  1847. 

For  Full  Orchestra. 

Symphony,  in  D.  1822. 

Grand  Overture,  in  C.  1825. 

Pel  formed  at  the  Musical  Festival  In  DQsseldorf,  at  Whit- 
suntide, 1833. 


420 


CATALOGUE  OF 


Sympnony  for  the  celebration  of  the  Reformation  Fes- 
tival, in  D minor.  1830. 

Performed  in  London  and  Berlin. 

Marches  for  smaller  Military  Bands,  composed  for  the 
use  in  Church  Processions  at  Dusseldorf.  1833. 

March  for  a fuU  Orchestra,  in  D,  in  celebration  of  the 
visit  of  Cornelius  the  painter  to  Dresden. 

For  Strings. 

Ten  Four-,  Five-,  and  Six-part  Symphonies,  in  the. 
years  1820  to  1823. 

Concerto  for  the  Violin,  with  accompaniment  of  String- 
ed Instruments,  in  D minor. 

Quartett  for  Two  Violins,  Tenor  and  Violoncello,  in  E 
flat.  1823. 

Many  single  Four-  and  Five-part  pieces.  Fugues,  etc. 

For  Pianoforte,  with  Accompaniment. 

Concerto  for  Two  Pianos,  with  Orchestra,  in  E.  1823. 

Concerto  for  Two  Pianos,  with  Orchestra,  in  A flat. 
1824. 

Concerto  for  Pianoforte  and  Violin,  with  Stringed  In- 
struments, in  D minor.  1823. 

Concerto  for  Pianoforte,  with  Stringed  Instruments,  in 
A minor. 

Sextett  for  Pianoforte,  Violin,  Two  Tenors,  Violoncello, 
and  Double  Bass,  in  D.  1824. 

Quartett  for  Pianoforte,  Violin,  Tenor,  and  Violoncello, 
in  D minor. 

Trio  for  Pianoforte,  Violin,  and  Tenor,  in  C miner 
1820. 

Sonata  for  Pianoforte  and  Tenor,  in  C minor.  1824. 

Sonata  for  Pianoforte  and  Clarionet,  in  E flat. 


MUSICAL  COMPOSITIONS. 


421 


Sonata  for  Pianoforte  and  Yiolin,  in  D minor. 

Sonata  for  Pianoforte  and  Violin,  in  F.  1838. 

“ Song  without  Words,”  for  Pianoforte  and  Violoncello. 
For  Fraulein  Lisa  Christiani. 

For  Pianoforte  Solo. 

G-rand  Fantasia.  1823. 

Fantasia,  four  hands,  in  D minor,  1824. 

Sonatina,  in  B flat  minor.  1824. 

Sonata,  in  B flat.  1827. 

Andante  and  Allegro,  in  E major  and  E minor.  1837. 
A vast  number  of  Songs  without  Words,  Studies,  Pre- 
ludes, Fugues,  Juvenile  Pieces,  etc.,  of  aU  dates. 

For  Clarionet  and  Corno  di  Bassetto,  with  Piano- 
forte Accompaniment. 

Two  Concertos  for  the  Koyal  Bavarian  Kammer-Musi- 
ker,  Herren  Barmann,  father  and  son,  composed  in 
Munich,  in  1832. 


the  end. 


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